NAZA (film): AI, Surveillance, and Collateral Damage in Gaza War

The Problem of Automated Targeting and Civilian Casualties

The documentary film NAZA confronts the ethical and operational complexities arising from the integration of artificial intelligence and automated surveillance into modern military targeting systems. Specifically, the film, by Israeli filmmakers Yuval Abraham and Rachel Szor, investigates the implications of these technologies as employed by Israeli forces during the Gaza war. It aims to shed light on the processes and decisions that lead to significant civilian casualties, a critical and often devastating aspect of contemporary conflicts. The film's title itself, derived from the Hebrew military acronym 'nezek agavi,' meaning 'collateral damage,' immediately signals its focus on the human cost of military operations. NAZA posits that the IDF uses this term not just as a descriptor, but as a metric to quantify expected civilian deaths in airstrikes. This framing raises profound questions about how technology is used to frame, quantify, and potentially depersonalize the impact of warfare on civilian populations, and the accountability mechanisms, or lack thereof, surrounding these automated processes.

Investigating AI and Surveillance in Military Operations

NAZA delves into the mechanics of how AI and automated surveillance are integrated into the Israeli military's targeting infrastructure. Through 24 interviews with anonymized military and intelligence insiders, the film purports to reveal the extent of the Israeli government officials' involvement in the deaths of thousands of Palestinian civilians. The interviews, conducted during the ongoing Gaza war and shot in Tel Aviv, aim to provide a direct, albeit anonymized, perspective from within the systems that carry out these operations. The film relies on casualty figures reported by Israeli outlets like +972 Magazine and Local Call, as well as The Guardian, between 2023 and 2025, providing a basis for its claims regarding the scale of the conflict's impact. The film’s narrative centers on the alleged use of AI-driven systems to identify and strike targets, with the term 'NAZA' serving as a chilling indicator of the anticipated civilian toll. By exposing these internal military perspectives and utilizing documented casualty figures, NAZA seeks to connect the abstract concepts of AI and surveillance with the concrete reality of civilian deaths in conflict zones. This approach challenges viewers to consider the human element behind the algorithms and the ethical frameworks guiding their deployment.

The Concept of Collateral Damage and its Military Application

The film's title, NAZA, directly references 'nezek agavi,' the Hebrew military term for collateral damage. This linguistic choice is central to the documentary's thesis: that the Israeli Defense Forces (IDF) utilize this term to pre-emptively estimate and potentially accept a specific number of civilian casualties in airstrikes. The implication is that 'collateral damage' is not merely an unfortunate byproduct of an operation, but a calculated factor within the targeting process itself. This perspective suggests a chilling normalization of civilian deaths within military planning. By focusing on this specific term and its alleged application, NAZA prompts a critical examination of how military doctrines and technological advancements intersect. The documentary uses casualty figures derived from reputable journalistic sources such as +972 Magazine, Local Call, and The Guardian, published between 2023 and 2025, to underscore the scale of the issue. The film's investigation into the role of Israeli government officials in the killing of Palestinian civilians is presented through the lens of these internal IDF practices.

Filmmakers' Background and Previous Work

Directors Yuval Abraham and Rachel Szor are Israeli filmmakers with a history of exploring complex socio-political issues through their work. Their previous collaboration, 'No Other Land' (2024), garnered significant international acclaim, including an Academy Award for Best Documentary Feature Film. That film focused on Israeli settler violence against Palestinian communities in the West Bank, establishing the directors' commitment to documenting human rights issues within the Israeli-Palestinian conflict. Their joint effort on NAZA builds upon this foundation, shifting the focus to the technological and systemic aspects of military operations in Gaza. The partnership between Abraham and Szor, prior to NAZA, demonstrated a capacity for producing impactful documentaries that challenge prevailing narratives. This shared experience and established track record lend significant weight to their new film and its critical examination of military practices.

Production and International Collaboration

NAZA is a British production, underscoring a collaborative international effort behind its creation. The film is co-produced by The Guardian, a prominent British newspaper known for its in-depth investigative journalism, and JW Films, headed by British film producer James Wilson. This collaboration suggests a commitment to rigorous journalistic standards and a global perspective on the issues presented. Further bolstering the production are executive producers Jonathan Glazer, known for his own critically acclaimed films, and contributions in association with Placeholder Films and Unseen Hand. This network of international producers and associated entities indicates a significant investment in the film's quality and reach, aiming to bring its complex narrative to a global audience through established channels in documentary filmmaking and journalism.

World Premiere and Festival Circuit

The film NAZA had its world premiere in the main competition of the 83rd Venice International Film Festival on September 10, 2026. It was the sole documentary selected for the festival's main competition, a distinction highlighting its perceived significance. The film's inclusion was a late addition, confirmed on August 24, 2026, following careful consideration of safety concerns related to its screening. This expedited selection process suggests a recognized urgency and importance attached to the documentary's message. Upon its premiere, NAZA received a remarkable 25-minute standing ovation, reportedly the longest in the festival's history, signaling a powerful audience response. The film's festival run continued with its inclusion in the 'Perlak' sidebar section of the 74th San Sebastián International Film Festival (September 18–26, 2026), and its North American premiere was scheduled for the Main Slate of the 2026 New York Film Festival (September 25 – October 12). French distribution company MK2 Films is handling its world sales rights, facilitating its distribution internationally.

Critical Acclaim and Review Aggregator Scores

As of September 12, 2026, NAZA garnered widespread critical acclaim, reflected in its standing on major review aggregator platforms. On Rotten Tomatoes, the film held a perfect 100% approval rating, based on 16 reviews, with an average score of 9 out of 10. This indicates unanimous critical praise for its content and execution. Similarly, on Metacritic, NAZA achieved a weighted average score of 96 out of 100, based on reviews from 13 critics. This score is categorized as 'universal acclaim,' underscoring the film's exceptional reception within the critical community. These metrics suggest a consensus among reviewers regarding the film's impact and importance.

Israeli Government's Condemnation and Proposed Legislation

Members of the Israeli government reacted strongly against NAZA, with the Israeli Defense Forces issuing a denial of the film's allegations. Culture minister Miki Zohar called for the directors' citizenship to be revoked, accusing them of treason. Prime minister Benjamin Netanyahu described the film's positive reception as 'shocking' and 'global antisemitic incitement,' further stating his intention to introduce legislation to revoke the filmmakers' Israeli citizenship and pursue defamation charges. On September 16, 2026, Netanyahu announced plans to introduce two bills in response to the film. The first proposed revoking citizenship for those who defame Israeli soldiers, and the second aimed to significantly increase statutory damages for defamation cases, specifically by twenty times. IDF chief of staff Eyal Zamir also raised the possibility of legal action, labeling the film as libellous and making 'grave, false accusations.'

Support from Israeli Filmmakers and Civil Society

In September 2026, a significant wave of support emerged from within Israel for the filmmakers of NAZA. Over 200 Israeli filmmakers signed a petition denouncing what they termed an 'unprecedented campaign of incitement and instigation' against directors Yuval Abraham and Rachel Szor. The petition emphasized the role of art and journalism in holding a mirror to society, with signatories including prominent directors such as Ari Folman, Shlomi Elkabetz, Ran Tal, and Michal Aviad. Concurrent with the filmmakers' petition, more than 40 Israeli human rights, equality, and peace organizations issued a joint statement backing Abraham and Szor. This statement urged authorities to halt the 'wave of incitement and threats of violence' against the directors. Notable signatories included organizations like Combatants for Peace, B'Tselem, Peace Now, Breaking the Silence, and Adalah, demonstrating broad civil society backing for the film and its creators.

Where This Approach Does Not Fit

While NAZA's use of anonymized insiders and documentary evidence offers a powerful lens into military operations, its reliance on such sources necessitates careful consideration of potential biases and the limitations inherent in presenting information from within a conflict. The film's focus on the IDF's internal terminology and casualty estimation practices, though compelling, is necessarily filtered through the perspectives of individuals who have chosen to speak out, and may not represent the entirety of views within the military. Furthermore, the strong condemnation from the Israeli government, while characteristic of responses to critical documentaries, highlights the contentious nature of the subject matter and the potential for deeply entrenched political narratives to shape public perception. It is crucial to recognize that while the film aims to expose systemic issues, the specific algorithms and AI protocols discussed are not publicly detailed; our understanding is derived from insider accounts and the filmmakers' interpretation. The film's effectiveness lies in its ability to provoke discussion and scrutiny of technological impacts in warfare, but viewers should remain aware of the inherent challenges in independently verifying the granular details of classified military systems. The narrative presented is a powerful interpretation, but the context of ongoing conflict and government opposition means that further independent analysis and declassified information, if ever available, would be necessary for a complete picture.