Israel is a sick society: ‘They know the house they are bombing is full of children’

Signs of the Times, (SOTT), Xan Brooks, The Guardian, Sun, 13 Sep 2026

operators. NAZA‘s directors on their devastating film about Israeli intelligence

On a darkened rooftop in Tel Aviv, Israeli intelligence officers outline the details of their work. These men tell us how they helped develop an AI mapping tool that trawled for phone signals and recommended apartment buildings in Gaza to bomb. Indirectly, they admit, they are responsible for thousands of deaths, but they never spoke up because that wasn’t their place. “My role is technical,” says one. “I’m just a small cog,” says another.

NAZA – directed by the Israeli film-makers Rachel Szor and Yuval Abraham and produced by the Guardian – is a chilling documentary about a mass slaughter that was authorised at the highest levels of government. But it is also, primarily, about the process, the system, the little links in the killing chain. Szor and Abraham build their film around the accounts of 24 anonymised military and intelligence insiders. NAZA, we learn, is an acronym used by the intelligence service to indicate how many civilians it expects to die in an airstrike on Gaza. The Israel Defense Forces prefer to target Hamas terrorists in their homes at night – and if they live with their family, or in heavily populated neighbourhoods, too bad. At one point, a source claims, approval was given to kill 500 NAZA for one Hamas member.

I meet Szor and Abraham at the Venice film festival, where NAZA is competing for the Golden Lion award. The pair won an Oscar for their previous documentary, 2024’s No Other Land (co-directed with Basel Adra and Hamdan Ballal), which spotlighted Palestinian resistance in the occupied West Bank. “No Other Land documented horrible crimes,” Abraham says. “But at the same time it gave people … I don’t want to say hope, but some light to latch on to. It’s not a coincidence that this film is all in the dark. We are in a very dark place right now.”

The Gaza health ministry has reported more than 73,000 deaths in three years of Israeli bombardment, the vast majority of which have been civilian casualties. NAZA briefly shows us the rubble, grieving parents, dead children on the ground. Its main backdrop, though, is placid, normal Tel Aviv, just 44 miles to the north, where rush-hour traffic drifts dreamily on the street and the cinematheque is showing a Claude Lanzmann retrospective. Tellingly, the film was executive produced by Jonathan Glazer, the director of The Zone of Interest. Glazer, says Szor, supported the structure and creative approach she and Abraham had adopted, that fostered the sense of a home that sits next door to hell.

NAZA deliberately concerns itself with the system – the policy of mass surveillance, the industrial business of murder – more than the individual psychology of those involved. But presumably its sources must feel guilt and shame, otherwise they’d never have agreed to put their careers and liberty at risk.

Abraham is unconvinced. “Well, it depends which one,” he says. “

There are many motivations for an individual to speak. Some people talk because they feel the opposite of shame. They feel pride in their accomplishment and expertise. Remember that these people serve in sensitive units. They are not often asked what they do. So there is an attraction to [our] curiosity that drives them to speak up.”

The film uncovers a system that is fiendishly efficient.Its series of disconnects appears designed to distance the perpetrators from the crime. Many of these men work remotely from Tel Aviv. AI selects the target and a drone drops the bomb. Even the language feels purposely euphemistic and obfuscatory. NAZA translates as collateral damage, which in turn translates to human beings.

“Sure, it’s easier to kill people when you’re doing it on a screen,” Abraham says.

“There is some truth in that, I guess. But equally it should be said that intelligence officers know the most. They listen to the cellphones. They know the house they are bombing is full of children. They can hear babies crying. They still order another strike.”

What is the status of these men now? Some discuss their work in the past tense. Others don’t, which suggests that they might still be at work, overseeing airstrikes each night. Abraham won’t say; he’s mindful of protecting his sources. “But you can imagine. We are dealing with 24 people, so there is a whole variety of statuses.”

NAZA prompts obvious questions about the creatures of darkness we see on screen. But it prompts intriguing ones, too, about Szor and Abraham, a pair of dissident investigative journalists from the country’s middle class. In the furious, febrile climate of post-7 October Israel, their work is liable to make them pariahs, if not enemies of the state……………………………………………… https://www.sott.net/article/508377-Israel-is-a-sick-society-They-know-the-house-they-are-bombing-is-full-of-children