Review: ‘Human Factor’ Gets Personal about Middle East Peace

President Bill Clinton, center, looks on as Israeli PM Yitzhak Rabin, left, and PLO leader Yasser Arafat shake hands in the White House after signing the Mideast accord in Washington on Sept. 28, 1995. (AP)
President Bill Clinton, center, looks on as Israeli PM Yitzhak Rabin, left, and PLO leader Yasser Arafat shake hands in the White House after signing the Mideast accord in Washington on Sept. 28, 1995. (AP)
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Review: ‘Human Factor’ Gets Personal about Middle East Peace

President Bill Clinton, center, looks on as Israeli PM Yitzhak Rabin, left, and PLO leader Yasser Arafat shake hands in the White House after signing the Mideast accord in Washington on Sept. 28, 1995. (AP)
President Bill Clinton, center, looks on as Israeli PM Yitzhak Rabin, left, and PLO leader Yasser Arafat shake hands in the White House after signing the Mideast accord in Washington on Sept. 28, 1995. (AP)

Ready for a documentary about three decades of agonizing fits and starts of the Middle East peace process, from the perspective of US negotiators? You’re probably thinking that doesn’t sound too enticing right about now.

But there’s a reason “The Human Factor,” by Israeli filmmaker Dror Moreh, escapes what would seem a likely fate of being interesting only to policy wonks and those with a direct stake in the issue, and it has something to do with the title, wrote The Associated Press. It’s a reference to a line from Dennis Ross, the best-known negotiator of the bunch.

“You can’t ignore the human factor,” he says at the beginning. “Someone who has a human touch treats someone else with respect. Someone who has a human touch doesn’t think they’re going to outsmart anybody.”

The film goes on to prove the point, threading a delicate line between giving us necessary facts and sounding like a dry history lesson. But the value is in the small, and yes, human details -- like the fact that Palestinian leader Yasser Arafat took it upon himself to cut Ross’ chicken for him when they ate together. Or the incongruous sight of Arafat’s entourage watching “The Golden Girls” on TV.

The film is full of such humanizing touches, not just about Arafat but about Israeli leaders and American ones, too. Like Bill Clinton, depicted here as a man on a career-defining mission to achieve a peace deal. One small but stunning anecdote: As the Monica Lewinsky scandal is breaking, casting a cloud over Clinton’s presidency, Ross looks over at his boss’ notepad during a crucial meeting. Clinton is writing: “Focus on your job. Focus on your job.”

The film traces the long slog of peace efforts through archival footage and interviews with key negotiators: Ross, who played a huge role for more than a decade, working for presidents from Reagan to Obama; Martin Indyk, twice the US ambassador to Israel; and negotiators Gamal Helal, Aaron David Miller and Daniel Kurtzer.

Through these men, especially Ross, we get a close-up view of world leaders and how they behaved behind closed doors. There’s a fascinating description of a meal in the small dining room off the Oval Office between Clinton, Arafat, Israeli Prime Minister Benjamin Netanyahu and King Hussein of Jordan. Ross describes an offended Hussein admonishing Netanyahu as if he were a wayward schoolboy: “You don’t have the maturity to be a leader,” he tells him, according to Ross. “You have to grow up and become a leader.” There’s silence in the room.

At another point, Ross describes Clinton exclaiming about Netanyahu: “Who does he think the superpower is?”

This is, of course, after the death of Prime Minister Yitzhak Rabin at the hands of a Jewish extremist in 1995, as he pursued peace. The film effectively portrays the grudging respect that had slowly formed between Rabin and Arafat, from a moment when shaking hands was a painful gesture to a time when Arafat would casually drape his arm across Rabin’s back.

For this viewer, the most “human” factor of the film comes with the shock over Rabin’s death, especially from Ross himself. The negotiator recounts that he’d been taking one of his children home from a doctor’s visit when he was paged by Secretary of State Warren Christopher.

Once the news sunk, Ross’ wife had to explain to their children why Dad was crying. “They’d never seen me cry before,” he says. And, speaking to the camera today, the tears return. “It’s obviously still a moment I really can’t talk about,” he says.

Ross would, of course, stay on the job, trying to broker peace between Arafat and Netanyahu, or Arafat and Prime Minister Ehud Barak. Clinton was determined, but that wasn’t enough. The high-stakes 2000 Camp David summit fails to produce an agreement, and we see Clinton in his last days in office in January 2001, in a call with Arafat, who calls him a “great man.”

“No, I’m not,” Ross quotes Clinton as saying. “I’m a failure.”

The film does not, of course, conclusively answer its primary question: What went wrong?

But there’s a hint. It is Miller who raises most directly one of the most serious issues: Was the United States ever really equipped to be an “honest broker”? Was real peace ever possible when the Americans were essentially, as Miller puts it in retrospect, acting as Israel’s lawyers?

“I don’t think I am free from prejudgments,” he says. And he asks: “Did we have Palestinian lawyers?”



How Lewis Hamilton and Apple Brought F1 Racing to the Movie Screen 

Lewis Hamilton of Great Britain and Scuderia Ferrari waves to the crowd on the drivers parade prior to the F1 Grand Prix of Canada at Circuit Gilles-Villeneuve on June 15, 2025 in Montreal, Quebec. (Getty Images/AFP)
Lewis Hamilton of Great Britain and Scuderia Ferrari waves to the crowd on the drivers parade prior to the F1 Grand Prix of Canada at Circuit Gilles-Villeneuve on June 15, 2025 in Montreal, Quebec. (Getty Images/AFP)
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How Lewis Hamilton and Apple Brought F1 Racing to the Movie Screen 

Lewis Hamilton of Great Britain and Scuderia Ferrari waves to the crowd on the drivers parade prior to the F1 Grand Prix of Canada at Circuit Gilles-Villeneuve on June 15, 2025 in Montreal, Quebec. (Getty Images/AFP)
Lewis Hamilton of Great Britain and Scuderia Ferrari waves to the crowd on the drivers parade prior to the F1 Grand Prix of Canada at Circuit Gilles-Villeneuve on June 15, 2025 in Montreal, Quebec. (Getty Images/AFP)

Racing legend Lewis Hamilton, a producer on an upcoming movie starring Brad Pitt as a fictional Formula 1 driver, wanted the film to show the reality of what it looks, feels and sounds like to speed around a track at 200 miles per hour.

To avoid having Apple's "F1 The Movie" seem "faked" by Hollywood, Hamilton provided input on details such as when drivers should brake or shift gears. The film will be released in theaters by Warner Bros on June 27.

"I really wanted to make sure the authenticity was there, and it worked for both the younger and the older audience, and then making sure that the racing was true to what it is," Hamilton said in an interview with Reuters Television.

"All the other drivers, all the teams, are relying on me to make sure that it does," the seven-time world champion added.

In the movie, Pitt plays a driver who comes out of retirement to mentor a young hotshot portrayed by Damson Idris. Co-stars include Javier Bardem and Kerry Condon.

Portions of the film were shot during real-life F1 events in Abu Dhabi, Mexico City and other Grand Prix stops. The filmmakers would shoot on the tracks during short breaks in the races. Pitt and Idris drove themselves in professional race cars at high speeds.

Before filming started, Hamilton said he met with Pitt at a racetrack in Los Angeles so he could size up the actor's driving skills.

"I really wanted to see, can you actually drive?" Hamilton said. A longtime motorcycle rider and racing fan, Pitt showed a baseline ability at that point that made Hamilton comfortable.

"He already had the knack," Hamilton said, which the actor further developed through weeks of intense training. "He really went in deep," Hamilton said.

"F1" was directed by Joseph Kosinski and produced by Jerry Bruckheimer, the team that put together the thrilling fighter-jet scenes in 2022 blockbuster film "Top Gun: Maverick."

For "F1," they needed new cameras that would work in race cars, which can be slowed down by extra weight.

Producing partner Apple, which began releasing movies in 2019, was able to help.

The company used some of its iPhone technology to adapt a camera system typically used in real F1 cars during TV broadcasts. The hardware looked like a traditional F1 camera but delivered the high-resolution video that the filmmakers wanted for the big screen.

"This movie was just a great example of putting the whole of the company behind a movie," Apple Chief Executive Tim Cook said. "We designed the camera that went into the car to capture the incredible driving experience. It makes you feel like you're actually sitting in the car and experiencing what Brad is experiencing."

Cook said he felt the movie showcased the athleticism required to rise to the elite ranks of F1 driving. Hamilton said he had encouraged more examples of the sport's physical challenges. Drivers can lose five or 10 pounds, he said, from the exertion during a race.

"You have to be able to show that part of it. You're training. You're conditioning your body," Hamilton said. "The car, it beats you up."