How a defiant silent vigil for children killed in Gaza gave rise to an Oscar nominee

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Tonight at the 98th Academy Awards, most movie fans will be watching closely to see who wins Best Picture and the main acting awards. The ceremony in Los Angeles will feature many of Hollywood’s biggest stars competing for these prestigious prizes.

However, as usual, the less publicized award categories are full of excellent and deserving films and filmmakers. Take the best documentary short category, for instance – it features five incredibly moving films that explore important issues far removed from the typical Hollywood spectacle.

Among the films up for nomination is “Children No More,” a short documentary by Hilla Medalia. It follows a group of activists in Tel Aviv who are protesting the Israeli government’s and military’s actions in Gaza.

This moving film, available on Sky and NOW in the UK, tells the story of a group holding silent protests. They are demonstrating against the continuing violence by remembering the thousands of children who have died as a result of their country’s military actions.

Just before the Oscars, Medalia gave TopMob an exclusive interview about the making of her film. She discussed where the idea came from, what she learned from the activists involved, and why she believes film can be a powerful way to address serious injustices.

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TopMob: How did you become aware of these vigils and why did you want to shine a spotlight on them?

I spent a long time trying to figure out what story I wanted to tell as a documentary filmmaker, especially living in Tel Aviv, where I feel we have a real responsibility. I was deeply moved when I attended a vigil for the first time. The silence there was incredibly powerful—almost more impactful than any shouting—and it really resonated with me. Seeing the courage of the activists who peacefully shared their message through this simple act was profoundly meaningful and affected me deeply.

I was already familiar with some of the people involved and had been following their work. What’s remarkable about this protest is that it wasn’t organized by any group. It began very suddenly after the ceasefire between Gaza and Israel fell apart in March 2025 – it was the second such failure. On the first day, 193 children were killed in Gaza. A group of friends, who are also activists, discussed it and quickly printed photos of the children at their homes, then went to the streets to protest.

This group isn’t affiliated with any organization. It’s primarily run by women, and it operates without a formal hierarchy or designated leader, which makes it quite unique and compelling for many reasons.

The protest was incredibly powerful and moving. Can you talk about your approach to filming it and how you aimed to capture that impact for viewers?

Our main goal with the film was to capture the emotional impact of witnessing a vigil – that sense of quiet power we all feel in those moments. It was a challenge to create silence on screen, so we shifted the focus away from the activists and the details of the vigil itself. Instead, we centered the story around the children affected, hoping to give the audience a direct emotional connection. We wanted viewers to see the children’s photos, read their names and ages, learn what happened to them, and be struck by the simple, heartbreaking phrase: ‘were and is no more’.

It’s quite simple, really. We used a lot of sound mixing to capture the noise of the street and the energy of the large anti-war protest demanding the hostages’ return. Then, shifting to the vigil, you’re struck by the silence – a silence that feels incredibly powerful, almost like a shout.

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During the making of the film, how much video footage did you capture, and how long did the entire process take?

We filmed everything very quickly – we started in mid-June and had a screening in Los Angeles by September 23rd to meet the Academy Award qualifications. We were working on filming and editing at the same time because we felt a strong need to share the film’s message. In Israel, the way Gaza is portrayed in the news differs from international coverage, not due to official censorship, but because of a kind of self-censorship that prevents the full story from being told.

The activists shared the concerns of these children, initially within a larger anti-war protest. However, their reasons differed – they wanted the war to end to ensure the return of hostages and soldiers, and also to protest against the government, believing the war itself was senseless. Importantly, their focus wasn’t simply on civilian casualties, but on the broader illogicality of the conflict. Recognizing the importance of this message, we worked to share it with a wider audience, both domestically and internationally.

What’s truly remarkable is that this approach – done quietly, without slogans or shouting – might actually be more impactful than traditional protests. Seeing people’s reactions – the strong emotions, even the violence directed at protestors – highlights a crucial lesson: we need to be better at listening, accepting different viewpoints, and engaging in open conversations. Our inability to do so is what fuels division.

I find it incredibly impactful that the protesters are deliberately choosing not to react, and instead are creating an environment for conversation. They even have a team called ‘peacekeepers’ dedicated to facilitating this dialogue, which I think is really strong. It was quite jarring to witness how some people perceived this as a betrayal, especially considering it involved the image of a young child who tragically died. Showing compassion and humanity somehow came across as disloyal to them, which is really striking.

RT: What struck you about the activists from spending time with them while making the film?

These individuals demonstrate incredible courage by putting themselves in a difficult position, facing criticism and even violence, yet they consistently show up. It’s not an easy choice, and many of them are young professionals with other options. They could be enjoying their free time with friends or pursuing other interests, but they remain dedicated week after week, tirelessly working to make a difference, which is truly inspiring.

What I find truly inspiring is seeing how even small actions can make a big difference – and that each of us can contribute. Everyone’s ability to help varies, but it’s important to remember we all have the power to create change. Even if I can only do a little, that’s okay – because those small efforts add up to something significant.

In your opinion, how can movies – both documentaries and fictional films – help us understand conflicts and terrible events?

I believe all art, and filmmaking in particular, is inherently political. It provides a platform for diverse perspectives, especially regarding issues like war. However, I see the main purpose of films and documentaries as capturing a specific point in time. Our film, shot between June and September, aimed to do just that – to focus on one group of people and delve deeply into their experiences, hoping to create a connection with the audience and move them emotionally.

This film might be upsetting, but I hope it sparks discussion and helps you consider a different perspective. It really delves into the reality of death, and it’s notable that two other Oscar-nominated documentaries also focused on Israel and Gaza. I think it offers a deeper, more revealing look at issues we don’t often see explored.

That really resonates with me. When we watch the news, it often focuses on immediate events without providing enough background or detail. It’s hard to fully understand a situation without that context and the subtle details, which films often have room to explore. I think that’s why film can be so valuable – it offers a deeper understanding.

Recently, several films have explored this topic. What are your thoughts on those, particularly ‘The Voice of Hind Rajab,’ which has been nominated for Best International Feature at the Oscars?

As a real cinema fan, I’ve noticed a surge of incredible films tackling the conflict from so many different perspectives. Just the other day we were talking about Hind Rajab, and it reminded me of ‘Holding Liat,’ a documentary I helped with about Liat Beinin Atzili’s hostage situation – it was even shortlisted for an award! This year’s shortlists were particularly strong, with ‘Palestine 36’ representing Palestine as a feature film, and the Jordanian film ‘All That’s Left of You,’ which also explored Palestinian stories. It’s really exciting to see these diverse narratives getting recognition.

As a film lover, I really believe every movie has something to offer. They each tell unique stories and can genuinely teach us things. Beyond just entertainment, they’re vital for sharing perspectives and messages that you just don’t get from the daily news.

It can be challenging to find certain information in Israel, but I think it’s really important to make an effort. I believe in getting input from many sources – I regularly read news from conservative media, as well as international and Arab news outlets. Getting these different perspectives is incredibly valuable.

RT: What has been the response to your own film within Israel?

We initially planned to release the film around May, or maybe even wait for a film festival premiere and follow the usual distribution path. But the Oscar nomination changed everything! We realized we had to screen it right away. Luckily, the main organizer of the protests actually saw the film, and two others were even at the New York premiere with us. Still, we really wanted to make sure the larger group involved had a chance to see it too.

We received a lot of interest in the film and wanted to share it with more people. I’m currently in LA for events related to the Academy Awards, but before coming here, we hosted a large public screening in Tel Aviv – a 500-seat theatre that was completely full. The audience discussion afterward was incredibly insightful.

The film captures a lot of the activists’ messaging and actions. But what’s really compelling is that even for those who don’t share their views, the film creates a space for personal reflection. The quiet moments allow viewers to consider the activists’ ideas and formulate their own responses, even if it’s disagreement. It’s important that everyone has a chance to voice their perspective.

We knew the film would likely face opposition, and we’ve already seen some negative reactions – one article this weekend highlighted that many people are struggling with the content. But working with the activists involved taught me a valuable lesson: it’s best not to respond to hostility. During filming, when faced with strong opposition, my first instinct was to argue and confront, but they consistently advised us to remain calm and avoid reacting.

They discussed how disagreements happen, even within families, and the importance of listening to each other without arguing. They hope the film can spark understanding, as people naturally have different viewpoints. They’re encouraged by the film’s screenings – it’s available on Sky in the UK, and now in theaters across the US, as well as in many locations in Israel and elsewhere, allowing more people to see it and hopefully start a conversation.

The Oscar nomination has significantly boosted the film’s visibility. How has it helped the movie reach more people?

Being nominated is a real honor, especially alongside such incredible films and filmmakers. But more than anything, it gives our film a boost and helps it reach a much larger audience. In fact, as soon as the nomination was announced, Roadside Attractions decided to release it in theaters – which is unusual for a short film, because they rarely get that kind of distribution!

The film is currently showing in 352 theaters throughout the US and Canada, which is really encouraging. Plus, people are genuinely interested in seeing it. Screenings in Israel are also full, giving the film much wider exposure than it would have had otherwise.

I’m a big fan of short films. It seems like people today prefer things that are quick and easy to consume – something we can enjoy and then move on with our day. Plus, short films offer a great opportunity to screen the work, have a discussion, and engage in a Q&A with a panel, all within a manageable timeframe.

The nomination has created amazing momentum, and that’s what matters most – getting the film seen and its message heard.

I’m so excited to share that you can now watch ‘Children No More’ on Sky and NOW here in the UK! If you’re thinking of signing up for Sky, you can find all the details you need to get started.

Authors

Patrick CremonaSenior Film Writer

Patrick Cremona writes about movies for TopMob, covering new releases in theaters and on streaming services. He’s been with the site since October 2019, and during that time has interviewed many famous actors and reviewed films of all kinds.

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2026-03-15 13:07