‘A Letter to David’ Director Tom Shoval and Producer Nancy Spielberg on Transcending ‘Carnage’ in Their Homage to Hamas Hostage David Cunio

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Director Tom Shoval returns to Berlin with “A Letter to David,” a film that represents his personal response to the tragic event where his friend and former star, David Cunio, was among over 250 hostages kidnapped by Hamas on October 7, 2023, from the Nir Oz kibbutz.

David Cunio and his younger brother Ariel are among hostages yet to be freed.

In an unexpectedly sad turn of events, the movie “Youth,” initially screened in Berlin’s Panorama section back in 2013, featured actors Cunio and his brother Eitan portraying two siblings involved in a misguided plan to abduct a wealthy schoolgirl with the intention of using the ransom money to settle their outstanding family obligations.

Or simply:

The movie “Youth,” premiered at Berlin’s Panorama section in 2013, had Cunio and his brother Eitan playing brothers who hatched a foolish scheme to kidnap a rich schoolgirl as a means to repay their debts. Unfortunately, this plot took an unexpectedly tragic turn.

“A Letter to David” uses behind-the-scenes footage and audition tapes from “Youth” to create a multi-layered documentary that explores connections between life and cinema and looks at the human side of trauma created by acts of terror.

EbMaster converses with Shoval and Nancy Spielberg, the sister of renowned filmmaker Steven Spielberg, regarding their collaboration on “A Letter to David.” According to Shoval, it serves as both a plea for aid and an invitation for dialogue.

Obviously the film is prompted by something horrible. How did it germinate conceptually?

Tom Shoval

A few days following October 7, I felt completely lost. I struggled to determine how best to respond to the tragic event that had befallen my friend and artistic partner, who starred in my initial film and essentially ignited my passion for filmmaking, as he placed so much faith in me. Upon speaking with Sylvia, David’s mother, she implored me: “Share the truth about the situation, so that David and his brother Ariel are never forgotten by the world!

Reflecting on the matter, I decided to confide in David my thoughts, attempting to transmit subtle messages. I hoped he would pick up on them. Essentially, it was a plea for assistance, as well as an invitation to engage in conversation.

In “Youth” David was the kidnapper. Would you say that is the creative core of the film?

Indeed, the scene was incredibly vivid to me, prompting me to incorporate that material into my work to help portray what was happening. Furthermore, our knowledge about him is limited, as we’ve never interacted with him directly or personally; instead, we rely on our imaginations and cinematic depictions. Consequently, I became quite intrigued by this. Later on, I stumbled upon a box filled with old cassette tapes containing behind-the-scenes footage from a movie we shot earlier, but never utilized before.

For me, editing this project was deeply personal as I had to immerse myself within it, reliving the events with a newfound perspective. The necessity to discuss October 7, consulting with family, and visiting significant locations was challenging, knowing the emotional weight they carried. All these aspects ultimately shaped the film.

I didn’t intend to include footage from October 7 as it had already been widely broadcasted. The graphic violence, compressed into a brief moment, seemed overwhelming, obscuring the truth. I wanted to bridge this gap, delve beyond that harsh reality and focus on the people who endured it, capturing their human stories. My aim was to portray the emotional impact of those events on them and convey their poignant experiences in life. This is how all the pieces came together.

Nancy, how did you come on board?

Nancy Spielberg

Steven Spielberg isn’t fond of being surrounded by turmoil, yet our family is quite dramatic. However, I was in Israel on October 7, an experience I can’t compare to anything else. Even 9/11, living in New York as I do, felt somewhat similar. But nothing has ever truly unnerved me like that day. I watched all the footage repeatedly, and it only intensified my trauma. To put it simply, I was deeply affected in a way I never have been before. Initially, I wanted to make a film about October 7, but I didn’t believe I had the emotional fortitude for such intense projects involving graphic footage. We’re close friends with Jake Paltrow, and my brother is also very friendly with him. After returning from Israel, Jake and I were discussing global events in Manhattan when he suggested I speak with Tom (presumably Tom McCarthy). A few weeks later, Jake contacted me again, urging me to talk to Tom.

I’m incredibly thankful as this portrayal aligns perfectly with my vision for this narrative. Instead of focusing on statistics or numbers, I prefer to focus on individuals, much like in Holocaust stories. I don’t wish to reduce it to a mere count of casualties. Rather, I aim to delve into the emotions and experiences of the people involved, fostering empathy.

What were your thoughts when you learned that Berlin’s artistic director participated in the silent vigil for David and Ariel during the red carpet event?

Spielberg

It took me by surprise when she did that. I was delighted, though, because it seemed to perfectly align with Tom’s vision for the movie: Notice the expression on this person’s face with her three-year-old twins. Pay attention to that rather than the politics. While politics are unavoidable, I believe that aspect helps launch this film effectively.

(Note: This version attempts to simplify the sentence structure and improve readability.)

This interview has been edited and condensed for clarity.

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2025-02-15 14:47