On Sunday, the 1947 Polish film The Last Stage was shown at a Tel Aviv theater. Its director, Wanda Jakubowska—a Gentile Polish Communist—was imprisoned in Auschwitz in 1943; after the war, she became one of her country’s foremost filmmakers. Using former prisoners and townspeople from the nearby hamlet of Oswiecim as her cast, she filmed the movie at the camp itself. Later Holocaust films would splice in its footage and even imitate some of its shots. Ofer Aderet writes (free registration required):

The film centers around a Jewish heroine, Marta Weiss, who is deported to the camp with her family. [Upon arrival], she translates the commander’s instructions for the other prisoners and is chosen to serve as an official interpreter. Later she exploits her position to help her fellow inmates smuggle supplies and information, and eventually escapes with a friend, Tadek, in order to tell the world about the plan to “liquidate” the camp. But the two are caught and sentenced to execution. . . . Marta Weiss is based on . . . Mala (Malka) Zimetbaum, a Polish Jew who moved to Belgium with her family as a child and was deported to Auschwitz in 1942.

Reexamination of the film all these years later clearly reveals its historical weaknesses; after all, it’s a Communist propaganda film. Praise for the Soviet Union, Stalin, and the Red Army is woven in. They are depicted as the prisoners’ only saviors—without any mention, of course, of Stalin’s cooperation with Hitler at the start of the war. . . . In the film, all resistance to the Nazis is led by Communist women.

Nor is there anything about how Jewish prisoners were harshly discriminated against by prisoners of other nationalities; this wouldn’t serve the message. . . . Also, in the film one hears Polish, Russian, German, and French, but no Yiddish. This is no coincidence. Produced under the auspices of the Soviet Union, the film deliberately avoids any mention of the uniqueness of the Holocaust and instead emphasizes the universality of the war’s victims. In this, the film betrays the truth. Most of the 1.1 million victims at Auschwitz were Jews.

But unlike other works produced under the Communist regime, the Jews aren’t completely absent from this one, thanks to Jakubowska’s stubborn insistence. Describing it years later, she said she was pressured to alter the plot and remove any mention of Jews.

For more than a year, the Iran-backed Houthis have been launching drones and missiles at ships traversing the Red Sea, as well as at Israeli territory, in support of Hamas. This development has drastically curtailed shipping through the Suez Canal and the Bab al-Mandeb Strait, driving up trade prices. This week, the Trump administration began an extensive bombing campaign against the Houthis in an effort to reopen that crucial waterway. Burcu Ozcelik highlights another benefit of this action:

The administration has a broader geopolitical agenda—one that includes countering China’s economic leverage, particularly Beijing’s reliance on Iranian oil. By targeting the Houthis, the United States is not only safeguarding vital shipping lanes but also exerting pressure on the Iran-China energy nexus, a key component of Beijing’s strategic posture in the region.

China was the primary destination for up to 90 percent of Iran’s oil exports in 2024, underscoring the deepening economic ties between Beijing and Tehran despite U.S. sanctions. By helping fill Iranian coffers, China aids Iran’s Islamic Revolutionary Guard Corps in financing proxies like the Houthis. Since October of last year, notable U.S. Treasury announcements have revealed covert links between China and the Houthis.

Striking the Houthis could trigger broader repercussions—not least by disrupting the flow of Iranian oil to China. While difficult to confirm, it is conceivable and has been reported, that the Houthis may have received financial or other forms of compensation from China (such as Chinese-made military components) in exchange for allowing freedom of passage for China-affiliated vessels in the Red Sea.