Louis Theroux: The Settlers, review: Theroux's approach is mismatched with the political reality of Israel
Oh, BBC. Why do you do this to yourself? If you've been brought low by accusations of bias in a documentary about Israel and Gaza – and an investigation into Gaza: How To Survive A Warzone is ongoing – it's not the best idea to broadcast another one so soon.
True, this is not a BBC News programme but Louis Theroux: The Settlers (BBC Two). It is mostly concerned with the West Bank, rather than Hamas-controlled Gaza. Theroux is under no obligation to hide where his sympathies lie, and he doesn't, closing the film by telling a leading settler that she's a sociopath because she doesn't care about the suffering of Palestinians.
The Settlers is a follow-up to The Ultra Zionists, a film he made in 2011. That one was very much in the classic Theroux tradition: spend time with religious fanatics who need only the politest prodding to make inflammatory statements. It is a much better documentary than this, which covers the same ground and feels surplus to requirements.
The Jewish settlers believe they have a God-given right to live in 'the heart of Judea', refusing to recognise Palestinian claims on the territories. They consider the Bible to be 'a land deed to the West Bank', Theroux explains, and have built settlements that are illegal under international law. Palestinians are subject to aggression and intimidation in a bid to drive them from the land, their attackers able to act with impunity under the protection of the IDF. Most moderate Israelis regard the settlers as a national embarrassment, while the country's security chief, Ronen Bar, has described escalating acts of violence by the 'hilltop youth' as terrorism.
The documentary features Daniella Weiss, the fiery and horribly unpleasant 'godmother' of the settler movement, who is so hellbent on claiming Gaza for the Jews that in one scene she tries to shake off a military escort and drive over the border. An ultra-nationalist rabbi, Dov Lior, says: 'All of Gaza, all of Lebanon, should be cleansed of these camel riders.'
Theroux says the October 7 atrocities were his spur for returning to Israel because he has heard that the settlement process is being accelerated as a result. But his style is unsuited to the new political reality.
An example. Theroux meets a Texan called Ari Abramowitz, who has emigrated to Israel and (illegally) set up a farm deep inside the West Bank. Theroux suggests it is 'weird' for Abramowitz to carry several guns while he goes about his day, including a visit to the synagogue. 'My gun is here to protect the nation of Israel from those who seek to harm us,' says Abramowitz. 'Is it that dangerous?' asks Theroux, in that lightly sceptical voice. But doesn't this exchange make Theroux, not Abramowitz, sound like the mad one? Recent history suggests that Jews have good reason to be prepared for an attack on their homes. Yes, we're talking about Palestinians from the West Bank here and not Hamas, but you can forgive Jewish residents for taking precautions and fearing their Arab neighbours.
After invoking October 7 as his reason for making the film, Theroux barely mentions it again. It's a shame that journalists aren't allowed into Gaza, because a film in which he gently accuses a Hamas leader of being a bit of a sociopath would be one to watch.
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