In the last decade or so, Israeli films have gained increasing visibility internationally. Beyond Israel, they have been screened at prestigious film festivals, won important awards and are often distributed widely, across a range of platforms. At the same time, particularly through the activism of the Boycott, Divestment and Sanctions (BDS) movement, Israel is subjected to growing criticism around the world. While the country’s traditional allies, primarily in the West, remain politically supportive of it in the main, popular support of Israel in some of these countries is eroding, with boycotts of cultural and academic activities resulting in routine disruptions and occasional cancellations. This curious paradox between the popularity of Israeli cinema, and the decreasing prestige of Israel itself, may be explained by the kinds of films Israelis export: films that present Israelis as victims, albeit of their own aggression.