Ammar Sabilarrohman
EXCLUSIVE: In a significant development for historical documentary filmmaking, sales powerhouse Go2Films has secured the international sales rights to To Kill A Nazi. Directed by Penn State professor and filmmaker Boaz Dvir, the documentary arrives just as the world prepares to mark the 50th anniversary of the legendary Entebbe hostage crisis—a mission that fundamentally reshaped global counter-terrorism strategy.
The film is set for its world premiere at the prestigious Dances With Films festival in Los Angeles on Monday, June 22, at the iconic TCL Chinese Theatre. Following its stateside debut, the documentary will hold its international premiere at the Croatian International Film Festival in Šibenik on Sunday, July 26.
A Narrative of Moral Ambiguity and Redemption
At the heart of To Kill A Nazi is the harrowing, true-life journey of Michel Cojot, a man whose existence was defined by the long shadow of the Holocaust. A French family man, Cojot was perpetually haunted by the death of his father at the hands of the Nazis in Auschwitz. The documentary meticulously tracks Cojot’s obsessive pursuit of justice after discovering the signature of Gestapo Commander Klaus Barbie—the infamous "Butcher of Lyon"—on his father’s arrest papers.
Cojot’s quest for vengeance eventually led him to a desolate alleyway in La Paz, Bolivia. Posing as a journalist, he managed to corner the aging war criminal, a loaded pistol in his hand. Yet, in a moment of profound moral hesitation, Cojot could not bring himself to pull the trigger. This decision to spare the man responsible for so much suffering became a psychological anchor, a lingering trauma that would define his next chapter.
That opportunity for redemption arrived, unexpectedly and violently, just one year later. In 1976, Cojot and his 12-year-old son were passengers aboard the ill-fated Air France Flight 139 when it was hijacked by terrorists. The ensuing crisis, which culminated in the legendary Operation Thunderbolt at Entebbe, placed Cojot in the crucible of history. The film explores how this high-stakes standoff offered Cojot a second chance to confront the forces of terror—not as an assassin, but as a survivor and protector.
Chronology of a Crisis: Operation Thunderbolt at 50
To understand the weight of To Kill A Nazi, one must revisit the events of June 1976. The hijacking of Air France Flight 139, which originated in Tel Aviv and stopped in Athens before being seized by members of the Popular Front for the Liberation of Palestine (PFLP) and the German Revolutionary Cells (RZ), remains one of the most daring hostage rescues in history.
The aircraft was diverted to Entebbe Airport in Uganda, where the hijackers were welcomed by the regime of Idi Amin. For one week, the hostages were held in the airport’s old terminal as the world watched in horror. The hijackers separated Jewish and Israeli passengers from the rest, a chilling echo of the selection processes of the Second World War.
On the night of July 3–4, 1976, the Israeli Defense Forces (IDF) executed a precision raid that remains a masterclass in special operations. Flying thousands of miles, commandos stormed the terminal, neutralizing the hijackers and rescuing the vast majority of the hostages. However, the raid was not without cost, and the psychological scars left on the survivors, including the Cojot family, have persisted for half a century.
Debunking Myths: The Wilfried Böse Paradox
One of the most provocative aspects of Dvir’s documentary is its stated commitment to dismantling long-standing myths surrounding the hijacking. Producers note that the film provides a fresh perspective on the actions of Wilfried Böse, a commander of the German Revolutionary Cells.
While historical records have frequently painted the hijackers as a monolithic block of cruelty, To Kill A Nazi presents eyewitness accounts that complicate this narrative. Witnesses present in the terminal describe a pivotal moment during the commando raid where Böse, faced with the impending collapse of the hijacking, chose not to execute his captives. Instead, accounts suggest he actively turned his weapon away and directed hostages toward safety. This nuanced portrayal of a perpetrator choosing a path of relative mercy under the pressure of annihilation adds a layer of moral complexity that distinguishes this film from standard historical retellings.
Production and Insight: A Global Collaboration
The 101-minute documentary is a robust USA/France co-production, helmed by Boaz Dvir alongside producers Matthew Einstein and Gayle Zachmann. The film’s authority is bolstered by a series of exclusive, high-stakes interviews. These include:
- Olivier Cojot-Goldberg: Providing intimate, familial insight into his father Michel’s lifelong struggle with the legacy of the Holocaust.
- Ilan Hartuv: Serving as the primary hostage spokesperson, offering a visceral account of the week of terror inside the Entebbe terminal.
- Rami Sherman: The mission commander whose tactical decisions on the ground turned the tide of the operation and saved dozens of lives.
Hedva Goldschmidt, founder and CEO of Go2Films, expressed her enthusiasm for the project’s emotional depth. " To Kill A Nazi is a gripping and deeply human story that explores memory, justice, and the lasting impact of history across generations," Goldschmidt said. "Working with Boaz Dvir has been truly inspiring; his ability to transform complex historical events into an emotional and cinematic journey makes this film both timely and unforgettable."
The Global Implications of Entebbe
Director Boaz Dvir emphasizes that the documentary is not merely a historical record but a contemporary study of modern warfare and human decision-making. "The Raid on Entebbe has become a blueprint for the expansion of special operations forces across the world," Dvir stated. "As Operation Thunderbolt’s 50th anniversary approaches, To Kill a Nazi reexamines this mission as a story borne of fragile decisions under extreme pressure."
The implications of the film extend to the current geopolitical climate, where the tactics pioneered at Entebbe continue to influence the deployment of elite units worldwide. However, by focusing on the "fragile decisions" of the individuals involved, the film elevates the conversation from military strategy to the human condition.
As the 50th anniversary of the raid approaches, the narrative of the Entebbe crisis is shifting. It is no longer viewed strictly through the lens of nationalistic triumph or tactical perfection. Instead, through the lens of To Kill A Nazi, the crisis is being re-evaluated as a profound human drama—a moment where the ghosts of the Holocaust collided with the radicalism of the 1970s, and where the decisions of a few individuals forever altered the lives of many.
Looking Ahead: The Cultural Impact
As To Kill A Nazi prepares to hit the festival circuit, industry insiders expect the film to spark significant dialogue regarding how we document history. By intertwining the personal trauma of Michel Cojot with the macro-historical event of the Entebbe raid, Dvir has created a film that refuses to offer easy answers.
The documentary’s inclusion of the "Böse paradox" serves as a reminder that history, particularly in the context of terrorism and rescue, is rarely black and white. For audiences in Los Angeles and later in Croatia, the film promises an immersive experience that challenges the viewer to consider the nature of justice: When is it right to pull the trigger? And when, in the face of absolute evil, is the act of restraint a form of justice in itself?
With Go2Films handling sales, the documentary is poised for a wide release that will likely bring these questions to a global audience. As we approach the half-century mark of the Entebbe Raid, To Kill A Nazi stands as a definitive, haunting, and necessary addition to the canon of historical documentaries. It serves as a bridge between the trauma of the past and the unresolved questions of our present, ensuring that the legacy of those 102 minutes on the runway at Entebbe remains as vital and provocative as ever.
Lina Hope
Nila Kartika Wati
