Rising Stars Swell Ariel Or and Keren Nehmad Of Kissufim On The Five Things You Need To Shine In The Entertainment Industry
…I would start by not focusing on the bigger picture with them. I would encourage them to do something small and good for someone else, and leave a note that says, “Hey, you just got something good. Now it’s your duty to pass it on.” You have no idea where it’ll go. Something small that doesn’t require a lot of effort or money, but something that gives a tiny fraction of hope, goodness, and unity. I would start a project of small good deeds that people can do. You start this chain system: you do something, you leave a note. And because you got something, imagine waking up and your car is clean — someone cleaned it for you, and they left a note. And then you have to pass it on.
I think it’s something we need. It’s really, really hard to ask Israelis to do anything right now because everyone’s so tired and sad. But I do think that if you… you know that feeling when you get something good out of nowhere, and you’re like, “The world is good. People are good. Oh my God.” It’s a moment you can’t create in any other way. I think I would do that. Maybe I would do that for the world in general.
I wouldn’t focus on anything big or enormous, like a huge goal or mission. I would focus on the small things you can do for others that make them feel better about themselves. And then, of course, you have to leave a note to pass it on…
I had the pleasure of talking with Swell Ariel Or and Keren Nehmad.
Swell Ariel Or is an Israeli actress who has quickly risen to prominence through her roles in notable Israeli productions, particularly the Netflix series The Beauty Queen of Jerusalem and the feature film Kissufim. Born and raised in Tel Aviv, Or’s unique upbringing by the sea shaped both her character and her unconventional name. “Swell,” referring to a surfer’s wave, reflects her parents’ free-spirited nature, while her middle name, Ariel, was a compromise to infuse a more traditional, Jewish touch.
Though acting was not an early aspiration, Or discovered her passion for the craft during her military service, where she began mimicking her commanders and entertaining fellow soldiers. This newfound interest prompted her to pursue acting once her compulsory service ended. Despite a series of rejections during her initial auditions, Or eventually secured a breakthrough role in The Beauty Queen of Jerusalem, one of the most ambitious television projects to emerge from Israel’s growing entertainment industry.
Following her success in The Beauty Queen of Jerusalem, Or starred in Kissufim, a film set in 1977 on a kibbutz near the Gaza Strip. The film, directed by Keren Nehmad, follows a group of young Israeli soldiers navigating the complexities of life, love, and identity on the kibbutz. The story, while fictional, is rooted in Nehmad’s father’s experiences as a soldier volunteering at Kissufim, providing a layer of authenticity to the narrative. Or plays Eli, a complex character dealing with trauma from the Yom Kippur War and struggling with her identity and relationships. Or described Eli as someone who runs away from her problems, a stark contrast to her own personality, which she says is more direct and confrontational. “I face things head-on,” Or explained, highlighting the difference between her personal approach to life and the avoidant tendencies of her character.
Despite her burgeoning career, Or remains deeply connected to her Israeli roots and the complexities of her country’s history. She hopes her work can help foster understanding about Israel’s multifaceted cultural and political landscape. Looking to the future, Or has expressed interest in creating projects that bridge the divides between different cultures in the Middle East, envisioning initiatives that allow people to experience the region firsthand.
Swell Ariel Or’s rapid rise in the film industry is marked by her ability to tackle complex, historical narratives while remaining grounded in her own identity and experiences. As she continues to grow as an actress, her work serves not only as a vehicle for storytelling but also as a means of fostering cross-cultural dialogue and understanding.
Keren Nehmad is an Israeli filmmaker and director whose debut feature film Kissufim has garnered international attention for its poignant portrayal of life on a kibbutz in the 1970s, just after the Yom Kippur War. Nehmad, born and raised in Tel Aviv, discovered her passion for filmmaking at a young age, attending art school from first grade and continuing her creative pursuits throughout her youth. By the time she was 11, she knew she wanted to direct films, a dream she would eventually realize through a combination of formal education and hands-on experience in both Israel and the United States.
During her military service in Israel, Nehmad served in the Intelligence Corps’ film unit, where she gained practical experience in filmmaking, further deepening her interest in visual storytelling. Following her time in the army, Nehmad decided to explore filmmaking outside of Israel, moving to the United States to attend the School of Visual Arts in New York City. She graduated with a Bachelor of Fine Arts degree in Film, with honors, in 2018. Her time in the U.S. provided Nehmad with the opportunity to develop her craft in one of the world’s most dynamic film environments, and she built her portfolio by working on various short films, including Ani (2018), which was showcased at several festivals including the Film Girl Film Festival and the New York Short Film Festival.
Before making her mark as a feature film director, Nehmad gained valuable industry experience working alongside veteran filmmaker Yaron Zilberman at Opening Night Productions. Shadowing Zilberman in pre-production for some of his projects allowed her to observe the intricacies of high-level filmmaking, which she later applied to her own work. This early exposure to the collaborative and multifaceted nature of filmmaking laid the groundwork for her own directorial approach, emphasizing the importance of surrounding herself with a talented and supportive team.
Kissufim, Nehmad’s feature film debut, is set in 1977 on a kibbutz near the Gaza Strip. The film, inspired by her father’s experiences as a soldier volunteering at Kibbutz Kissufim, explores themes of friendship, love, and the transition from adolescence to adulthood in a politically charged and socially cohesive environment. The film’s depiction of life on a kibbutz in the 1970s captures the unique culture of these communal settlements, which were once central to Israeli society. The film’s release has taken on new significance following the attacks of October 7, 2023, when Kissufim was targeted by Hamas militants, resulting in the deaths and kidnappings of several residents. For Nehmad, the tragic events have given her film an unintended, eerie relevance, as it now serves as both a tribute and a time capsule for a way of life that has been dramatically altered.
In interviews, Nehmad has expressed her deep connection to the project, not just because of its personal roots, but also due to the complex political and social landscape it represents. The film was shot on location at Kissufim, where the cast and crew had to undergo security briefings due to the site’s proximity to Gaza. One of the security officers who had briefed the team was later killed defending the kibbutz in the October 7 attacks, an event that deeply impacted Nehmad and the film’s cast.
Kissufim has already received multiple accolades, including the Best Foreign Feature award and Best Cinematography at the Orlando Film Festival, as well as top honors at the Cyprus Film Festival. The film’s success at these festivals underscores its universal themes and emotional depth, resonating with audiences beyond Israel. Nehmad’s ability to intertwine personal history with broader, more universal narratives is a hallmark of her storytelling style, allowing her to create films that are at once deeply intimate and widely relatable.
In addition to her work on Kissufim, Nehmad has directed several short films, including Do You Think I Meant Country Matters? (2017), Il Bagno (2017), Heart to Heart (2016), Chips (2016), and Apt. 617 (2016). These projects, though smaller in scale, allowed her to hone her skills in visual storytelling, exploring a range of themes from interpersonal relationships to societal norms.
Nehmad’s collaborative approach to filmmaking has been essential to her success. She has consistently emphasized the importance of working with talented people who challenge and inspire her. During the making of Kissufim, her partnership with actress Swell Ariel Or, who plays the film’s lead role, became central to the film’s development. Nehmad and Or’s dynamic working relationship was characterized by mutual respect and creativity, with Nehmad often praising Or’s dedication and depth as an actor. The film, largely shaped by this collaborative energy, presents a nuanced and compelling look at life on the kibbutz, while also addressing larger questions of identity, responsibility, and the impact of national politics on personal lives.
Looking forward, Nehmad is eager to continue exploring stories that reflect the complexities of Israeli life while resonating with global audiences. Her future projects will likely continue to blend personal history with broader sociopolitical themes, using her unique lens to tell stories that both entertain and provoke thought. As she builds on the success of Kissufim, Nehmad is poised to become a significant voice in Israeli cinema, with a growing reputation for creating films that are as emotionally engaging as they are intellectually stimulating.
Yitzi: It’s so delightful to meet you. Before we dive in, our readers would love to learn about your personal origin stories. Keren, we’ll start with you. Can you share the story of your childhood and how you grew up?
Keren: I grew up in Tel Aviv, where I was born and raised. I attended art school from a very young age, starting in first grade, alongside regular schooling. I think I knew I wanted to make films by the time I was 11 and always wanted to pursue that path. I even continued filmmaking in the army, working in the intelligence department, which I really enjoyed and where I learned a lot. Afterward, I wanted to explore filmmaking outside of Israel, so I went to the U.S. and studied at the School of Visual Arts, where I earned a degree in filmmaking. When I returned home, I started working on Kisufim right away while also working on other films to make a living. And that’s how I got to where I am today.
Yitzi: Swell, what’s your personal origin story?
Swell: I grew up in Tel Aviv by the beach, and that’s where my name comes from. It’s “Swell” like the waves. Not very Jewish, but Ariel as a middle name was a compromise. I spent most of my days at the beach — I was kind of a hippie. I started acting only in the army. I would imitate my commanders and put on shows for the girls in my room. It just felt right, like there was something there. After the army, I auditioned for a year and a half, getting a lot of “no’s,” one after another. Then The Beauty Queen of Jerusalem came along. Funny thing with Kisufim is that I got the audition for it before The Beauty Queen of Jerusalem even came out. So Keren didn’t even know that I was in The Beauty Queen of Jerusalem.
Keren: Yeah, I hadn’t seen it before I met her.
Yitzi: Did you discover Swell? Did you make her into a star?
Keren: I’m just happy to be around and get to work with her. But she’s a star on her own. She’s amazing. I remember she came in for an audition, and we went straight into the scene. She was just Eli. I knew immediately that she was the one. After that, I was so happy to discover she’s not only talented but also a good and loving person. We became really close, and it was great, not just for the film, but for me as a creator to have such a partner.
Yitzi: So you mentioned The Beauty Queen of Jerusalem. Can you share with us a bit about how that happened? How did you get involved? Any stories about that part?
Swell: I auditioned like every other actress, and I got the part. There’s literally no magic trick. That’s what you have to do — you have to hustle. I can tell you a story that connects both The Beauty Queen of Jerusalem and Kisufim. In The Beauty Queen of Jerusalem, we’re lovers, and in Kisufim, we’re kind of… no one likes him, and we’re on bad terms. It was funny to play that contrast.
Yitzi: Keren, tell us a little bit about Kisufim. Why do we have to watch it?
Keren: Kisufim, it’s a film about a group of young adults living on a kibbutz as part of their army service. It’s like their last hurrah before they leave the army and start their lives as adults. We follow them on this journey of what it’s like to live on a kibbutz, what it means to volunteer there, and what a kibbutz was like in the seventies. Back then, it was a socialist environment where everyone worked, lived, and ate together.
The film explores the process of growing up, especially in the context of being Israeli, where politics and reality always creep into your personal life and shape who you become.
Yitzi: That’s great. Swell, what would you say are the main takeaways or themes you want people to take from Kisufim?
Swell: I want people to be interested enough in what a kibbutz is that they actually Google it. That’s what I want — for them to start looking into what a kibbutz is, the socialist movement, and how many volunteers from all over the world came to Israel just to learn about this system and be part of building a new country based on those values. That’s what I want.
Yitzi: That’s great. How about you, Keren? What are the lessons or takeaways you want people to get from it?
Keren: I think it’s about understanding what it’s like to grow up in Israel, to have so much responsibility at such a young age. It’s also about the variety of personalities, ideas, and political values we have, and how the kibbutzim were united in their desire to live, work the land, and find peace within their communities. That’s a big value of the kibbutz people. I want viewers to enjoy the journey and realize that it has ups and downs, and in a way, it’s a loop. When you finish the film, you can start all over again and see that we kind of live in this continuous cycle.
Yitzi: Swell, how would you compare and contrast your personal character, Swell, with Eli, the character you play in the movie? How are you similar and how are you different?
Swell: I’m similar in that we both want to live in a world where there’s peace and freedom, where you can travel without borders. I really relate to this deep sense of not understanding why things are the way they are — why everything seems to boil down to ego and control. It’s weird to me.
As for differences, I think Eli runs away from her problems, and I’m the opposite. In the film, you can see Eli has trauma related to her family and the Yom Kippur War, and she’s running away from it. She’s also running away from her sexuality. With her sexuality and romance, she faces it initially, but then she pulls back. For example, she literally goes to Gaza to avoid talking to Ron. She’s avoidant, and I’m not. I’m the type who faces things head-on. I talk, I confront, and I deal with it — I go straight through the wall.
Yitzi: Can you share a story where you do that in real life?
Swell: Recently, I got ghosted for the first time. Yeah, that happened. That actually happened. Sorry. And I faced it. I was like, “Hey, no, this is disrespectful. I’m sorry if I did something that hurt you, but this isn’t cool. Bye-bye.” I didn’t just let it be — I can’t. I can’t run away from stuff like that. It’s not me.
Even with Keren, when I told her, “Keren, you should come to America. You need to do it.” I speak my mind all the time, and I’m not afraid of confrontations, even when it’s uncomfortable. That’s just not who I am. I’m the opposite of avoidant.
Keren: I think even when Swell and I talk about stuff, she’s always asking questions. She wants to dive deeper, really trying to understand what she’s going through. She needs someone to help her process it. Sometimes I’m shocked by how deep she goes — not everyone can handle that level of introspection, but she really likes to talk things through to make sense of them.
Yeah, I’d say Ellie is more avoidant, or she handles things in her own way, let’s say. Definitely not in Swell’s way.
Yitzi: Keren, it’s been said that sometimes mistakes can be our greatest teachers. Do you have a story about a humorous mistake you made when you were first starting and the lesson you learned from it?
Keren: Oh, I’m making mistakes all the time. I think I’m constantly learning, and I definitely learned a lot while making Kisufim. Let me think… I don’t have a specific story about a big mistake in my craft, per se. But I feel like even when you succeed, you’re still learning. Every mistake teaches you something.
If I were to make Kisufim today, after having seen the final product and gone through everything, I would probably do things completely differently. Not because I’m unhappy with it — I’m really proud of how it turned out and grateful that people are connecting with it. But I’ve learned so much along the way, and I’m a different filmmaker now. I know I made plenty of mistakes throughout the process, but each one helped me grow.
And honestly, I’m kind of excited about what mistakes I’ll make next. When I make my next film, hopefully very soon, I know I’ll make plenty of mistakes, but I’m ready to learn from them.
One thing I’m thankful for is working with really talented people. That’s my advice — surround yourself with people who are better than you and even intimidate you. That’s how you make the best stuff. You put your ideas out there, and then you trust the people around you to help bring them to life. So even when I made mistakes, I had amazing people around me who helped me through it and got me out of the tough spots.
Swell: I can add something. If you’re okay with it, Keren, I think it was a mistake for a while, but you corrected it. You thought it wasn’t the right time to push the film abroad after October 7th. You didn’t believe there was a reason to push for film festivals, to try to sell it, or even to come here and spread the message. Everything that happened really affected your perspective. And I remember it so clearly, thinking, “Oh my God, Keren, this is a huge mistake. No, no, no.”
Keren: Yeah, I didn’t think there was space for it. I didn’t even have the space to push my film — our film — when something so big and horrific happened. I just felt like it wasn’t the right time. Then I realized it was actually another way to talk about Israel, to connect with people about Israel, and even the kibbutzim, and what’s happening there. It hit so close to the film, so close to home. So yeah, that was definitely a mistake. But thankfully, Swell was there, pushing me, saying, “No, no, no, this is what we’re doing now.” And I was like, “Okay.” That was something I learned.
Swell: Now she’s learned. For her next films, from the start, she’s like, “Okay, this can be big.” And it’s worth pushing that message worldwide because that’s who she is as an artist. I think she has the ability to create stories that can build bridges and communicate with the whole world.
Yitzi: How about you, Swell? Do you have a story about a lesson you learned from a humorous mistake you made?
Swell: I’ve definitely had a lot of experience with this, but okay, here’s one. In my career, for a long, long time, I thought that if I wasn’t getting roles, it was because of me. I thought I wasn’t good enough, not working hard enough, not pretty enough, that I needed to speak better, things like that. It pushed me to do a lot of good things — like really work on my craft — but there’s a point where it becomes toxic. It can create a low self-image and push you to become a perfectionist to the point that you lose everything magical about what you’re doing because you’re just focused on being perfect.
You start thinking it’s all about you. And I think this applies to anything in life, whether it’s not getting a job or being passed over for an opportunity. Sometimes it’s not about you at all. Maybe they’re looking for diversity hiring, or they need a woman and you’re a man, or they want someone with a different set of skills. It’s not always personal.
Sure, self-improvement is great, but you need to recognize when it’s no longer healthy. And honestly, it’s kind of narcissistic to think it’s all about you. Most of the time, decisions made by people in positions of power are about so many other factors, not just you. Even in relationships, it’s the same. You might remind them of someone else, or it could be something totally unrelated to who you actually are.
Keren: I talk about this a lot with actors. When someone comes in for an audition, the director or creators already have a vision, an image in their mind of what they’re looking for. And it often has nothing to do with the actor who gets rejected. Sometimes it’s just really hard to let go of that vision, or you’re stuck thinking, “No, it has to be this way.” So I think learning to understand that is really important — knowing that 99.9% of the time, it has nothing to do with you.
Yitzi: I read that Kisufim takes place in a kibbutz near Gaza. Was it actually filmed there? Was it filmed in the areas that were attacked later on October 7th?
Keren: Yeah, it was. We filmed in Kisufim. It’s near Gaza, and Kisufim was attacked on October 7th. Members of the kibbutz were kidnapped, and some were murdered. The guy, Saar Margolis, who gave us the safety briefing when we arrived — about what to do if rockets came from Gaza — he died defending the kibbutz. So yeah, it hits really close to home.
Yitzi: I didn’t even connect it. So you’re showing a film about a kibbutz from the ’70s that was attacked later on. It’s like the most relevant film ever. It feels so pertinent to what happened.
Keren: Yeah, and it’s heartbreaking. The kibbutz doesn’t look like that now, and it’s never going to look like it did in the film. So in a way, the film preserves it in time, which is both sad and amazing. You can see how beautiful the place was, but knowing what happened makes it so tragic. When we filmed, we weren’t even worried about security. Our biggest concern at the time was COVID. To think we were there… and now to see what’s happened. I went back to visit, and it’s just devastating — houses burned, gunshots everywhere.
Yitzi: Was anybody involved in the production affected, aside from the person you mentioned?
Keren: Not that I know of directly. We’re still in contact with the kibbutz, but the residents aren’t there anymore. They’re staying somewhere else because it’s not safe. They were involved with us during filming, but I don’t think anyone else was hurt or taken. Still, everyone from the kibbutz has been deeply affected. They were so generous, gave us such a warm home while we were there.
Yitzi:Wow, I’m so sorry. It adds a whole new layer to the film, like seeing what the kibbutz was like before it was destroyed.
Keren: Yeah, completely.
Yitzi: Okay, so this is our signature question. Both of you have, in your own way, achieved a lot of success now. Looking back at when you started, can you share with us the five things you need to succeed as a filmmaker or actor? Let’s alternate. We’ll start with you, Keren.
Keren:
- People. You need good people around you — people you trust, people you can turn to for advice, people you can collaborate with. Filmmaking is such a collaborative art, and having others to lean on, who can be there for you, makes all the difference. Without good people, I wouldn’t have done anything. So yeah, people.
- And knowing that you don’t know everything is huge for me. You can make mistakes and still succeed.
- A vision. You need to know what you want, even if it changes a hundred times. It can evolve, shift, and not look anything like you originally imagined, but having a vision of what you want to create is essential.
- Patience. A lot of patience. I thought this film would come out at the beginning of the year, but of course, it didn’t. It wasn’t the right time. It ended up taking on a whole new meaning because of when it was released. Patience is key with everything — writing, directing, editing, waiting for the next project.
- And for me, personally — and I don’t know if everyone needs this, but I do — you have to love what you’re doing. I love what I do, even when it drives me crazy. Whether it’s staying up all night editing or being on set at 5 a.m. when everyone’s tired, I still love those moments. Loving what you do is so important for success. And success is subjective, but for my personal success, I need to love what I’m doing.
Swell: Yeah.
- Discipline. You have to keep going, and you need self-discipline. It’s one of the most important things — maybe even more important than talent.
- Luck. It’s an important factor, unfortunately. And it’s not always about you. But I do think you can create your own luck because I believe luck is about frequencies. If you’re on the right frequency, luck will come to you. People do this in different ways — some through prayer, others through meditation or spiritual practices, or even witches who cleanse your energy. Whatever it is that helps you tune into the right frequency, luck is very important.
- Know the rules of the world you want to be part of, and then break them. But first, you need to know the rules. You can’t break them if you don’t know what they are.
- A strong center. You need to know who you are — your worth and even your worst qualities. You need to be grounded because the world and this journey will show you different sides of yourself. So, you have to know who you are, both the good and the bad.
- And I’d say fun. You need to have fun. It’s really hard to remember that when you’re so eager to succeed and it becomes an obsession or a fight. But you need to remember that it’s supposed to be fun. You’re doing it because it’s fun. It’s easy to forget that, but it’s so important. Not every moment will be fun, but don’t lose sight of why you started — you’re supposed to enjoy it.
Yitzi: Why is it important to break the rules?
Swell: I mean, like, I’m not saying burn the world. Obviously, I’m not saying break the house, everything. I’m saying break the rules with elegance and with wisdom. But it’s important to break the rules because in every world you have a system. And you need to be seen and heard and to make an impression. You need to be memorable, especially as actors, maybe as directors as well. I think as well, because there are so many talented people, so many stories to tell, and you have to be memorable. in my opinion, is someone breaking the rules, but with so much respect to the world, breaking the rules but with so much respect to the world, and with so much elegance that I want to follow them. I want to hear them. I want to see what they have to offer. Maybe they know something better than… You know what I mean? In every world, I think, even in the world of synagogues and rabbis, imagine a rabbi who’s breaking the rules but not going crazy, but just brings a different perspective with a lot of respect to the existing system. But he’s breaking the rules. For example, he starts with, “Let’s everyone dance for a minute and sing before we read the parashat Hashavua.” You’re probably going to want to go back to listen to him next week if he’s good at what he’s doing, but he did it in a different way because that’s not the rules.
Yitzi: That’s great. As you know, Israel’s facing the whole world now. Do you ever experience any obstacles because of being Israeli or being Jewish? And how do you overcome them?
Swell: With patience, like Keren said. I know it’s going to be better in the future, and it’s just a trend. Surrounding myself with good people, understanding that people who don’t want to work with me because my existence is saying something about them politically, I don’t want to work with them. Cowards. I don’t really want to work with them, even if they’re the biggest studios, the biggest projects. They don’t want to hire me because I’m Israeli. I don’t want to work with them. Fine, I won’t get this role, or I’m going to have to hustle a little bit to pay rent, but in the long term, I’m so happy that in my resume, I didn’t work with people who are discriminating against Jewish people.
Yitzi: That’s great. How about you, Keren? Do you have a story where you were discriminated against and you overcame it?
Keren: I think I don’t have a specific story of discrimination against me. I’m not in LA at the moment. I’m not experiencing it. I think there’s a lot of support within the Jewish community, which is amazing, but I think there probably are people who discriminated against Swell, me and the film because we’re Israeli and Jewish, and I don’t even know about it. And coming over is putting the film out there just for them to see, for everybody to see. I think putting something so Israeli and so exactly what they don’t want to see maybe is the most I can do to overcome what we’re going through.
Yitzi: Because of the platforms that you’ve built, each of you are people of enormous influence. If you could spread an idea or inspire a movement that would bring the most amount of good to the most amount of people, what would that be?
Swell: Wow, that’s a great question. Thank you. I think it really depends because I see a difference between what can do the most good to Israelis now and what can do the most good to the world now. And what can do the most good to the world now, like in spreading a message and influencing people. There is a difference because Israel is kind of like experiencing something that the world is not experiencing right now. So you can’t just… I could answer like before October 7th, or hopefully, in a few years, something that is about everyone. But now if I’m thinking about your question, could I answer it for two groups?
Okay, so to the people of Israel… wow, that is so intense because everyone’s so tired and sad.
I would start by not focusing on the bigger picture with them. I would encourage them to do something small and good for someone else, and leave a note that says, “Hey, you just got something good. Now it’s your duty to pass it on.” You have no idea where it’ll go. Something small that doesn’t require a lot of effort or money, but something that gives a tiny fraction of hope, goodness, and unity. I would start a project of small good deeds that people can do. You start this chain system: you do something, you leave a note. And because you got something, imagine waking up and your car is clean — someone cleaned it for you, and they left a note. And then you have to pass it on.
I think it’s something we need. It’s really, really hard to ask Israelis to do anything right now because everyone’s so tired and sad. But I do think that if you… you know that feeling when you get something good out of nowhere, and you’re like, “The world is good. People are good. Oh my God.” It’s a moment you can’t create in any other way. I think I would do that. Maybe I would do that for the world in general.
I wouldn’t focus on anything big or enormous, like a huge goal or mission. I would focus on the small things you can do for others that make them feel better about themselves. And then, of course, you have to leave a note to pass it on.
And for the world, I would love to have a Syrian partner or a Lebanese partner and open a company that just creates trips for the Middle East. Or an Iranian partner who wants people to see what it’s really like to live under the occupation of extremist Islamic regimes. And I would create trips for the Middle East, for people to go to the Middle East, and for non-Jewish people to visit Egypt and Jordan where it’s nice, we have a peace agreement with them, and the regime is not extremist, and Israel, obviously. And then go to Lebanon and Syria and Gaza. And hopefully, I don’t know if Iran lets people go in, we’re going to have to be really smart in how we’re doing it so people don’t get kidnapped. But that’s what I would do. I would let people see what it’s like with their own eyes to be in the Middle East. And I would let them see also the criticism about Israel, everything, just go there and see.
So the point is to go to the Middle East, not to Israel specifically or to Gaza specifically. Go to the Middle East. Travel there. See what it’s like.
Yitzi: Keren, how about you?
Keren: A movement, I think I would want a movement of people telling their personal stories, everybody in Israel and around the world. I think everybody has a personal story and everybody can relate to it. And it can be like a person to a person, it can be a group. But you have to come very open. You have to come very… no judgment is allowed. No backlash for what you’re saying or what you’re talking about. And just people telling who they are and their stories. And I think that will impact how we view each other because we view each other in ideas. We’re learning things out of TikTok and social media and no disrespect because I don’t have any disrespect for reporters, but everybody has an opinion, even when they’re writing on the news. I think just hearing someone else’s story that has nothing to do with you and you’ve never heard anything like it can open your mind and your heart and your concept to understanding that we’re all the same and we’re all different. And learning about something you have no clue about is important. And going deep, not like surface-level cliff notes kind of thing, really understanding someone else. So that is an idea I would like to spread.
Yitzi: You’re both so inspirational. How can our readers watch the film? How could they support your work in any way?
Keren and Swell:
Watch our work.
Swell: Yeah, watch it, talk about it, talk about it with your friends. Cinema and TV, support it.
Yitzi: It was such a great interview.
Swell: Yeah, wow, I love the questions.
Keren: Thank you so much. It was really, really fun.
Yitzi: Thank you so much for your time and your graciousness. And I wish you continued success and blessings. I hope we can do this next year.
Keren and Swell: Thank you so much.
Rising Stars Swell Ariel Or and Keren Nehmad Of Kissufim On The Five Things You Need To Shine In… was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.