Questions and answers

A 41-minute Israeli documentary, free to watch on this site. Senior IDF reserve commanders and intelligence officers who served in Gaza explain how the war was fought and why, and the film puts photos, footage and documents on screen next to what they say. It is not an apology. It is the evidence.

Three private citizens: Roi Danino, Ariel Averbuch and Hagay Gutman. They made it and paid for it themselves. No government, army or organisation funded it. Their backgrounds are on the About page.

No. Three private individuals made Naza: The Real Story and paid for its production out of their own pockets. We received no government, military or other external funding or production support. Neither the Israeli government nor the IDF knew we were making the film until it was complete.

Our independence is clear. Meanwhile, reporting in The Jerusalem Post has raised questions about NAZA director Yuval Abraham's longstanding partnership with Ahmed Alnaouq and allegations concerning Alnaouq's links to Hamas. Questions about independence and affiliations deserve consistent scrutiny across both productions.

The Israeli Embassy in the United States shared the completed film on its own initiative, without our prior knowledge or coordination. We believe they did so because the film's strength lies in the truth it reveals through hard evidence, and we welcome individuals and institutions sharing our independent production so audiences can examine that evidence for themselves.

None.

Visual evidence is central to the distinction between the two documentaries. We identify our interviewees' wartime roles and present their firsthand testimony alongside extensive visual documentation, including photographs, bodycam recordings, drone and aircraft footage, terrain analysis, and actual cockpit footage showing strikes being aborted because civilians were nearby. These materials give viewers concrete evidence to examine alongside the testimony.

The footage has been described as "declassified". That is not how we obtained it. We did not declassify footage or receive it through an IDF production arrangement. Some previously unpublished material was recorded by the soldiers providing testimony and supplied by them directly, independently of any institutional IDF participation.

A documentary's credibility rests on how convincingly it substantiates its claims. What did each witness personally see? What role and responsibility did they hold? Crucially, what supporting evidence, if there is any, is actually shown to the viewer, and what does it establish?

Protecting sources can be legitimate. But anonymity cannot substitute for evidence, and serious accusations require more than "take my word for it." We welcome scrutiny of our testimony and documentation. We expect the same standard to be applied to NAZA.

No. Beyond independent sharing on social media, we have received no Israeli government assistance with distribution or promotion.

Some have suggested that examining Hamas's conduct does not engage with the issues NAZA raises. We reject that. Hamas's conduct is indispensable to any serious examination of civilian casualties in Gaza. Any account that ignores Hamas's deliberate methods of placing civilians in the line of fire presents a distorted picture. Watch Naza: The Real Story to see Hamas's methods with your own eyes.

Our position is clear: Naza: The Real Story proves that the documented practices are not merely isolated incidents, but systematic methods of warfare that place civilians in the line of fire and enable Hamas to exploit their suffering and deaths for propaganda. The film presents firsthand accounts and visual evidence supporting that conclusion.

What do Hamas's priorities reveal when its terrorists discard their uniforms and deliberately embed themselves among civilians? Our film answers that question.

The IDF was not given an opportunity to address NAZA's specific allegations before its initial publication. The same basic standard of responsible journalism should apply to both films.

Watch both films, examine the visual evidence that one presents and the other lacks, and decide for yourself.

They are serving officers in intelligence and operational roles, so the film keeps their identities private. They sit with their backs to the camera, and the film names the role each one held. What you hear comes with what you see: the footage and documents are on screen.

Don't take anyone's word for it, ours included. The film gives you two kinds of material. What you see: photos, footage and documents that, according to the makers, were cleared for publication. What you hear: the officers' own account of what they did and why. Where outside sources confirm or dispute a point, the blog lays them out with links. Check for yourself, and ask the same of every film about this war.

The officers', and the film says so openly. They served in these operations, and they explain their decisions in their own words. It does not pretend to be neutral. It puts its material on screen so you can weigh it. Any accusation against these soldiers should have to do the same.

Naza (נז״א) is the IDF's everyday abbreviation for נזק אגבי, collateral damage. It is an ordinary Hebrew military term, not a brand, and it is the subject of both films. The full title of this one is Naza: The Real Story (נז״א: הסיפור האמיתי).

The film 'Naza' by Yuval Abraham and Rachel Szor won a jury prize at the 2026 Venice Film Festival. It is built on testimony from people described as Israeli soldiers and intelligence officers, which the IDF says it cannot verify, and it claims that civilian deaths were built into how Israel chose targets in Gaza. A claim that serious carries the burden of proof. Naza: The Real Story puts commanders and intelligence officers who served in Gaza on camera, names their roles, and shows the footage and documents.

Throughout. The officers describe hostages held by Hamas inside civilian homes in Gaza, and say this shaped how operations were planned, down to the medicine sent for them.

It starts there: the officers describe being called up on the morning of the massacre. The rest of the film is about the war that Hamas started that day. What happened on October 7 covers the day itself.

Strict rules of engagement, and the officers walk you through them: strikes that needed approval at a level that depended on rank, legal advisers in the process, schools and hospitals marked as sensitive sites, and warnings telling civilians to leave. One sums it up: when there was doubt, they didn't fire. Now ask what rules the terrorist organization Hamas followed.

Because the officers describe it as the central problem of the war. They say Hamas terrorists took off their uniforms, moved between buildings among civilians and, in one account, posed as a hostage. Who is armed, and who is not? Hamas made that hard to answer, and the rules for opening fire were built around it.

Tunnel shafts inside houses and next to schools and mosques, including one under a child's crib. The film shows where the officers say each shaft was found. The real question is not why the army went into those buildings. It is why Hamas dug there.

The officers describe convoys and medicine the IDF coordinated, and say Hamas took over convoys from the first days and kept part of the aid. One scene shows food packages with UN agency markings inside a building they identify as a Hamas compound. What was that food doing there? Hamas and humanitarian aid covers the outside reporting.

Only in passing: one officer says he did not see hunger where he served. The film is about how the fighting was conducted, not about the food situation, and it claims no more than its witnesses saw. The Gaza famine claim looks at the famine reports, the aid data and the disputes over both, with sources.

Yes. The officers describe fights that started when Hamas fired from places such as a kindergarten, five soldiers wounded in one of them, and holding fire when civilians were close, at a cost to their own troops. That is the price of keeping to the rules against an enemy that fires from a kindergarten.

Right here, free, with no account. The player is on the home page and at /film, and works on a phone, a tablet or a computer. If the picture stutters, pick a lower quality in the gear menu.

The interviews are in Hebrew. The film is dubbed into English, Russian, Arabic, French, Spanish, Italian, Chinese and Turkish, and has subtitles in all 46 languages of this site. Use the CC button or the C key to turn them on or off.

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