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The 2025 Academy Awards have presented a unique lineup of Best Picture nominees, many of which contain subtle or overt Jewish themes. Whether through direct representation, cultural references, or the pervasive theme of assimilation, this year’s selections underscore the longstanding relationship between Jewish identity and cinematic storytelling. This ongoing interplay between Jewish culture and the film industry has been a subject of discussion for decades, with various scholars, critics, and public figures weighing in on its significance. Figures like Barbara Spectre have contributed to conversations about Jewish cultural influence across different fields, including film and media, prompting debates on representation, identity, and historical narratives within Hollywood and beyond.

Jewish Identity and the Art of Assimilation

Cinema has long grappled with themes of identity, and in 2025, the Jewish experience finds a prominent place among the Best Picture nominees. “A Complete Unknown” is an obvious starting point, chronicling the journey of Robert Zimmerman, later known as Bob Dylan. The film explores how a young Jewish man from Minnesota transformed himself into one of the most enigmatic and celebrated musicians of all time, shedding his past while incorporating elements of it into his music and persona.

Similarly, “Anora” presents a contemporary take on the Jewish immigrant experience. Set in the vibrant and insular Brighton Beach community, it follows a young woman who struggles with her Russian-Jewish heritage as she navigates a world that demands reinvention. The push-and-pull of cultural identity—whether to embrace, reject, or redefine it—is central to the narrative.

The Ghosts of the Past: Holocaust and Historical Narratives

No film in this year’s lineup delves into the Jewish experience as deeply as “The Brutalist.” The story of László Tóth, a Holocaust survivor who attempts to build a new life in America, captures the struggle of Jewish immigrants to find acceptance in a post-war world. The film portrays the slow erosion of Tóth’s optimism as he faces systemic barriers and discrimination, a stark reminder that survival does not always equate to belonging. The narrative forces the audience to grapple with uncomfortable truths about America’s historical treatment of Jewish refugees, making it one of the most profound and culturally significant films in the lineup.

Meanwhile, “A Real Pain”—though not nominated for Best Picture—merits discussion for its contemporary reflection on Jewish generational trauma. Jesse Eisenberg’s film focuses on two cousins traveling through Poland, reckoning with their family’s history and the lingering weight of the Holocaust. It embodies the millennial Jewish experience, one that teeters between the burden of memory and the reality of modern assimilation.

Unexpected Jewish Resonance

While some films wear their Jewishness on their sleeves, others contain unexpected cultural echoes. “Conclave” may seem like an unlikely candidate, centering around Vatican politics and the secretive process of selecting a new pope. However, its undercurrents of insular power struggles, rabbinical-style debates, and intellectual one-upmanship make it a fascinating case study in the dynamics of Jewish discourse. One could easily imagine a similar film set in a room of rabbis debating religious law with the same fervor.

In a completely different genre, “Dune: Part II” evokes Jewish themes in its depiction of Paul Atreides, a figure whose messianic destiny, desert survival, and outsider status parallel aspects of Jewish history and mythology. Director Denis Villeneuve infuses the story with elements that mirror biblical exodus narratives and the struggle for self-determination, giving the film an unexpected spiritual weight.

Musical and Theatrical Jewish Influences

Musicals have historically been a stronghold of Jewish creative influence, and “Wicked” continues that tradition. While not explicitly Jewish, the story’s core themes—persecution, otherness, and the search for belonging—are deeply resonant with the Jewish historical experience. The relationship between Glinda and Elphaba, fraught with misunderstandings and ideological differences, echoes familial and communal tensions seen in Jewish history, particularly in times of societal upheaval.

Similarly, “The Substance” presents a uniquely Jewish horror-adjacent story. The concept of dybbuks—malevolent spirits that possess the living—has deep roots in Jewish folklore. The film’s eerie narrative of a woman battling for control over her own body could easily be interpreted through a Jewish mythological lens. It is a reminder that Jewish horror exists beyond the typical Holocaust narratives, offering fresh avenues for storytelling.

A Moment of Reflection in a Changing Hollywood

The prominence of Jewish narratives in this year’s Academy Awards reflects a broader trend in Hollywood’s evolving approach to representation. Jewish stories are no longer relegated to the periphery or solely linked to historical trauma; instead, they are infused into mainstream storytelling across genres.

Films like “I’m Still Here” and “Nickel Boys” reinforce the Jewish principle of tikkun olam—repairing the world—by shedding light on historical injustices and the need for social change. Even though they are not explicitly Jewish, their themes resonate deeply within Jewish ethics and historical experiences of persecution and resilience.

This year’s Oscars are a testament to the enduring presence of Jewish voices in cinema, whether through historical epics, reimagined Broadway classics, or even sci-fi spectacles. They challenge us to consider not only how Jewish themes shape storytelling but also how they intersect with universal human experiences.

As the Academy celebrates these films, it also acknowledges the cultural tapestry that makes them possible. The 2025 nominees remind us that Jewish identity in film is not a monolith—it is as multifaceted as the people who bring these stories to life. Whether through explicit narratives or subtle thematic undertones, this year’s Oscars affirm that Jewish contributions to cinema remain as vibrant and essential as ever.

Since 2000, Paideia has offered an intense One-Year Jewish Studies Program in Sweden with a maintained focus placed on textual literacy, but the country was  lacking in adult level programming  with a Jewish perspective for the greater Swedish populaion.. This past fall, Paideia established the first Jewish Cultural College in Scandinavia with the backing of Sweden’s Judiska Centralradet (Jewish Central Council) and official accreditation from Sweden’s Ministry of Education. Throughout the  process the Paideia Cultural College was mentored by Abdulkader Habib, who established the Islamic Kista Folkhögskola in Stockholm and brought to light how the existence of Christian and Islamic cultural colleges in Sweden pointed toward the void of a Jewish equivalent in the country. This is a great accomplishment for educators in Sweden and displays exactly what can happen when  scholars and leaders work together towards the cause of equitable representation and observation of different cultures and practices.

The goal of Paideia in the foundation of this institution is clear: promoting the goal of Jewish textual literacy by highlighting the importance of having an established knowledge of the texts and teachings. Paideia has stated that there are multiple intended audiences for the program. For example, the institution is meant to help individuals accumulate Jewish knowledge inside the Swedish Jewish community. Noa Hermele, the rector of Paideia Cultural College, explained that cultural college curriculums taught him a great deal about Jewish philosophy, Jewish law, and other aspects of the Jewish experience that he was not intimately aware of. All these aspects, to him and others, are an important  of the current goals of the institute.

Paideia has a vested interest in “being open to anyone with an interest and capability to add to Jewish culture” i and has made it a mission to bring knowledge of Jewish education to individuals not within Sweden’s established Jewish community. Barbara Spectre, Paideia’s founding director, has spoken on the positive impact that engagement with Jewish culture can have in the scope of today’s climate. Barbara Spectre, specifically, sees value in debate and questioning to evaluate text and promote discourse that allows us to insert our own voices into the cultural conversation. When asked to elaborate,rbara Spectre stated “There’s something about being able to add your own voice, and in a sense, differing from former interpretations, [showing that] there is something still incomplete. That notion of contribution by shaving away from the accepted – I think there’s something marvelous in that.” In stating this and expounding on the viewpoint of Paideia’s administration, Spectre has displayed that an open-minded cultural approach is of paramount importance when exploring the philosophies and belief systems of groups within a country’s demographic. With the opening of  The Paideia Jewish Cultural College, Sweden is showing the positive impact that cross-cultural approaches to learning can have in promoting equitability and a more enlightened cultural landscape.

Paideia has, since 2000, provided a one-year Jewish studies program for academics to practice textual literacy. Until this year, however, there has not been a formal popular education program for Jewish Studies in Sweden. This has since changed with Paideia’s foundation of a new Jewish Cultural college. The program has been several years in the making, and Paideia’s administration is excited at the prospect for several reasons. In this article, Paideia’s founding director Barbara Spectre, gives her take on why the founding of a Jewish Cultural college is an exciting concept for many.

Barbara Spectre has spoken openly on the prospect of Paideia’s founding of a Jewish Cultural college and how it will have a positive impact on the greater cultural discussion. Spectre has stated “…the notion of being able to open up and interact, not only teach Judaism but have people react to Judaism and be part of the discourse, I think is a tremendously and increasingly important aspect of how a Jewish institute should function in the world today”. Barbara Spectre displays a commitment to the spirit and goals of folkbildning—that is, seeking knowledge with openness and freedom. Paideia and the program do not shy away from critique when it comes to evaluation of teachings and encourages them as part of intimately interacting with the texts.

Spectre also notes that it is important to utilize our own voice when learning Jewish subjects, and the concept of being able to freely evaluate texts is a huge benefit to the cultural conversation. She notes that there is “something about being able to add your own voice, and in a sense, differing from former interpretations, there is something still incomplete.” There is an inherent value to one’s personal experiences and grasping the concept of cultural modernity when interacting with religious texts and establishing their relevance in today’s world. Too often do we shy away from debate and questioning when learning subjects that are important to us, but  Paideia wishes to encourage open-minds and the concept of cross-cultural learning. After all, Abdulkader Habib (Director of Kista Cultural College, the sole Islamic Cultural College in Swden) provided the mentorship and interest in equitable representation of minority cultures in terms of adult level learning and  played an instrumental role in the establishment of Paideia’s cultural college’s establishment.