Tribeca Review: Holding Liat Portrays One Family's Narrative Through a Mosaic of Political Perspectives

      The initial words we hear in Brandon Kramer’s Holding Liat are delivered over the phone by someone identified in the subtitles as the “Israeli Army liaison.” During this brief conversation, a male voice informs a distressed man in his seventies that his daughter, Liat, has been “abducted by terrorists and is being held in the Gaza Strip,” but is alive. Right from the beginning, Holding Liat appears to be a film designed to evoke strong emotions, appealing to the viewer's compassion with the story of a family whose daughter and son-in-law were taken hostage on October 7, 2023. Knowing that Brandon Kramer and his brother Lance (who both directed the 2021 documentary The First Step featuring Van Jones) decided to create a film about how their relatives in Israel—Yehuda and Chaya Atzili, Liat’s parents—handle this unimaginable ordeal raises questions about whether it may reflect emotionally tinted pro-Israel propaganda.

      However, such an interpretation this early in the film would be harsh, even if it's based on the kind of justified skepticism one should have regarding contemporary political documentaries. Holding Liat quickly unfolds into a much more intricate narrative: a blend of personal beliefs, political stances, and perspectives from the Israeli-American Beinin family. Chaya, Liat’s mother, expresses her concerns but refrains from voicing her opinions; Tal, Liat’s younger sister, maintains a moderate stance; while twenty-something Netta, one of Liat’s children, openly expresses animosity towards Hamas for kidnapping her parents. Conversely, Joel Beinin, Liat’s uncle and a professor emeritus at Stanford, courageously supports Palestine and critiques the IDF. Yehuda, Liat's father and a central figure in the film, unexpectedly reflects the same propagandistic skepticism I initially brought to the viewing.

      Kramer captures the Beinin family both as a collective—documenting their interactions, shared sorrow, and heated disputes—and as individuals. The camera is keenly present, reflecting the urgency of the circumstances and the imperative to document them. Perhaps the film’s most poignant moments highlight the political tensions at a personal level, particularly as Chaya or Tal chastise Yehuda for seeking more than just Liat’s return. He also comments on the wrongdoings of Benjamin Netanyahu, even confronting the distorted views held by some Zionists. At one point, Yehuda attends a “Save the Hostages” rally that swiftly turns into a Zionist demonstration; he is shocked, protests, and leaves.

      Yet, the film does not portray Yehuda as a political measure or an archetype. By including various interactions with Congress and President Biden, Holding Liat seeks to illustrate a deeper understanding and solidarity between Israeli citizens and Palestinian advocates. The U.S. involvement is also analyzed—its subjects acknowledge that Liat’s American citizenship enhances their influence and ability to apply pressure, while they risk becoming entangled in yet another American myth of valor. If it would be too ambitious for this film to attempt to resolve an issue or bridge a divide as vast as the one currently challenging our world, it might be more fitting that Holding Liat remains in the uncertain space of waiting: for the hostages to be freed, for a death to be confirmed. In the director’s statement, Kramer aligns his work “alongside” contemporary Israeli and Palestinian films, a responsible approach that differentiates micro-level from macro-level politics. Still, the film premiered at Tribeca just days after the humanitarian aid boat from the Freedom Flotilla was seized by Israeli forces––making it impossible to perceive Holding Liat as a historical document detached from the ongoing political landscape.

      Holding Liat was showcased at the 2025 Tribeca Festival.