killing

Tehran says it is the fourth attack near the nuclear plant amid the US-Israel war on Iran.

One person has been killed by projectile fragments after United States-Israeli strikes targeted a location close to Iran’s Bushehr nuclear plant, according to the International Atomic Energy Agency.

The agency, citing confirmation from Iranian authorities, said in a statement on X that there was “no increase in radiation levels” after Saturday’s attack.

Later on Saturday, Iran’s Foreign Minister Abbas Araghchi claimed the Bushehr facility had been “bombed” four times since the war erupted, criticising what he described as a lack of concern for its safety.

The strike comes as the US and Israel escalate their targeting of Iranian industrial sites, even as experts warn of the high risks of striking nuclear or petrochemical facilities.

IAEA Director General Rafael Grossi expressed “deep concern about the reported incident and says [nuclear] sites or nearby areas must never be attacked, noting that auxiliary site buildings may contain vital safety equipment”, the statement read.

Grossi also reiterated a “call for maximum military restraint to avoid risk of a nuclear accident,” the IAEA added.

The Atomic Energy Organization of Iran (AEOI) confirmed the incident, also in a post on X.

An “auxiliary” building on the site was damaged, but the main sections of the power plant were not affected by the strike, the government agency said, adding that the person killed was a member of security personnel.

It’s the fourth time the site has been attacked since the start of the US and Israel’s war on Iran, the AEOI noted.

The Bushehr plant is Iran’s only operational nuclear power plant. It is located in Bushehr city, home to 250,000 people, and is one of Iran’s most important industrial and military nodes.

Meanwhile, US and Israeli strikes on Saturday hit several petrochemical plants in the southern Khuzestan region, an important energy hub, according to Iranian media.

At least five people are reported injured.

Explosions were heard, and smoke was also seen rising after missiles hit several locations across the Mahshahr Petrochemical Special Economic Zone.

The state-run Bandar Imam petrochemical complex, which produces chemicals, liquefied petroleum gas (LPG), polymers and a range of other products, was struck and sustained damage, Iran’s Mehr news agency reported.

A provincial governor in Khuzestan added that the Fajr 1 and 2 petrochemical companies, as well as other nearby facilities, were also hit, according to the Fars news agency. The extent of damage is unclear.

Iran’s Islamic Revolutionary Guard Corps (IRGC) claimed it shot down an MQ-1 drone over central Isfahan province on Saturday, hours after authorities said they forced down two US warplanes.

Isfahan, which houses an underground uranium conversion and a research site, was one of three facilities bombed during US and Israeli strikes on Iran last June.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

This is another strong week for new releases. By now you have likely heard something about “The Drama,” which has become inescapable thanks to the tireless promotion of its two stars, Zendaya and Robert Pattinson.

In a movie written and directed by Norwegian provocateur Kristoffer Borgli (“Dream Scenario”), the pair play Emma and Charlie, an engaged couple who find their wedding week thrown into disarray by the revelation of a deep secret from the bride-to-be.

Robert Pattinson and Zendaya in the movie “The Drama.”

(A24)

As Amy Nicholson put it in her review, “To another screenwriter, ‘The Drama’ would be an intimate study and a more emotionally wrenching film. But Borgli forces us to parse the mushy stuff from the mess and analyze the pending nuptials as an impersonal problem: What comes after a public shaming for the guilty and the inquisitors? That’s one of the most important (and unresolved) questions of the modern era, so I’ll forgive the filmmaker for being no more interested in writing Emma and Charlie as complex human beings than if they were character names in a math quiz about two people on two trains speeding toward a crash.”

Meanwhile, Tim Grierson spoke to Shira Small, the folk artist whose sole 1974 album features a song heard in an early scene of “The Drama.” Small, a delightful interview, goes into the music career she left behind a long time ago — one which may be reigniting now thanks to the movie.

Also opening in Los Angeles this week is Israeli filmmaker Nadav Lapid’s “Yes,” a guaranteed conversation-starter. Ariel Bronz stars as a musician who, in the aftermath of the Oct. 7 attacks, decides to say yes to composing a vicious new political anthem..

Reviewing the film, Joshua Rothkopf said, “It’s a movie about a citizenry at war with itself, hoping to keep the plates spinning for one more night. You watch it and think how easy it would be to envision an American remake — and wonder, too, if a filmmaker like Lapid even exists here.”

One of my favorite films from SXSW 2025, “Fantasy Life,” is finally coming to theaters. Written and directed Matthew Shear, the movie is an affectionate nod to the chatty dramedies of Noah Baumbach (some of which Shear has acted in). Here he plays Sam, a troubled law school dropout who takes a job looking after the children of a Brooklyn couple (Amanda Peet and Alessandro Nivola) and finds himself in an emotional affair with the wife.

“Fantasy Life” actor-writer-director Matthew Shear and star Amanda Peet bond in New York.

(Justin Jun Lee / For The Times)

I recently spoke to Shear and Peet about their collaboration on the film. Peet’s character in the film is also an actor and, though much of the film’s anxieties felt familiar to her, one scene in particular is drawn from Peet’s own experience: She is often mistaken in public for Lake Bell, including once on a red carpet.

“It’s a weird thing because you’re like, what do I do here?” said Peet with a laugh. “What’s the least douchey way to get out of this?”

The Black Pack’s resistance humor

Robert Townsend in the 1987 movie “Hollywood Shuffle.”

(Samuel Goldwyn Company / Photofest)

Curated around a new book by Artel Great, the UCLA Film and Television Archive is launching the series “The Black Pack: Rewriting American Comedy,” to spotlight a moment in the 1980s and ’90s when a small group of Black creators reached the very heights of Hollywood.

Eddie Murphy, Paul Mooney, Robert Townsend, Keenan Ivory Wayans and Arsenio Hall were friends and collaborators who, from 1987 to 1994, created the work showcased in the series. The Black Pack is a name they gave to themselves, partly in response to the John Hughes-affiliated Brat Pack.

Things begin tonight with a 35mm screening of Townsend’s essential 1987 satire “Hollywood Shuffle.” Great will be there for an introduction and a Q&A with cast member Anne-Marie Johnson and Spring Mooney, daughter of late actor Paul Mooney, who also appeared in the movie.

The cast of “In Living Color,” to be celebrated as part of the UCLA screening series “The Black Pack.”

(Fox / Photofest)

Other events include an evening of episodes of Wayans’ sketch comedy series “In Living Color,” 1988’s “Coming to America,” starring Murphy and Hall, a 35mm screening of Townsend’s 1991 “The Five Heartbeats” and a 35mm screening of 1989’s “Harlem Nights,” the only movie starring, directed, written and produced by Murphy, then at the height of his cultural capital.

This series is a terrific example of why smart programming matters. Here is a group of films (and a TV show) that might seem only related in a vague way, but when put together under a specific theme or idea, they are suddenly transformed into something revelatory.

Each evening of the series is designed to make the case for a different aspect of the Black Pack’s work and influence. The series as a whole puts forward a larger concept Great has coined a term for.

“I’m arguing through the series that the Black Pack’s cultural material is connected to a longstanding tradition that I call Black resistance humor,” says Great, now an associate professor at San Francisco State University, in an interview this week. “This idea of Black resistance humor is really a cultural practice where Black cultural workers are using political wit, irony, satire, parody, absurdity to challenge corrupt authority, to give voice to racial trauma and also attach themselves to re-imagining what freedom can really look like.”

From left, Arsenio Hall, Eddie Murphy, James Earl Jones and Madge Sinclair in the movie “Coming to America.”

(Paramount / Photofest)

There are plans for Black Pack programs in other cities, including Atlanta, San Francisco and Chicago, bringing this fresh look at their specific moment to venues around the country.

“I’m hopeful that the series will allow communities and audiences to see the Black Pack as cultural strategists who are using this idea of Black resistance humor to address very serious issues of power, identity and race,” says Great. “But also as a way of thinking, as a way of seeing and as a way of building alternative systems. Because that’s what they were able to do.”

Points of interest

‘The Birthday Party’ in 35mm

Actor Robert Shaw, left, with director William Friedkin on the set of “The Birthday Party” in 1968.

(Larry Ellis / Getty Images)

As part of its series celebrating the legacy of actor Robert Shaw, the Academy Museum will screen 1968’s “The Birthday Party” in 35mm on Sunday. One of the earliest features directed by William Friedkin (who would go on to such classics as “The Exorcist” and “To Live and Die in L.A.”), the film’s screenplay was written by Harold Pinter, adapting his own play. Shaw, Friedkin and Pinter make for a combustible intensity.

Shaw plays Stanley, the lone boarder at a seaside inn. When two mysterious men (Dandy Nichols and Sydney Tafler) arrive, they engineer a party for Stanley that becomes increasingly ominous.

In his original review, Charles Champlin lauded Shaw, saying he gives “one of the total and totally engrossing movie performances,” adding that Friedkin “as a director is everything a dramatist, and an audience, could want. The sense of loving care and artistic sureness which characterizes every aspect of the movie is extremely tonic. Pinter may be an acquired taste, but it is easy to acquire.”

‘He Got Game’ in 35mm

Denzel Washington in 1998’s “He Got Game.”

(David Lee / Touchstone Pictures)

Spike Lee’s prolific career is now studded with movies that maybe didn’t quite get their due in their day but deserve renewed attention. Screening in 35mm on Sunday at Brain Dead Studios is Lee’s 1998 “He Got Game,” which is just that kind of movie: stuffed with ideas and ambitions even if it doesn’t totally all come together for everyone. I particularly like his use of composer Aaron Copland’s music, which gives many of the images an epic quality they might not otherwise fully achieve, challenging preconceived notions of what can be thought of as Americana.

The movie stars a particularly electric Denzel Washington as Jake Shuttlesworth, a once-promising basketball player whose life took a turn. Now he’s in prison. His son, Jesus (played by NBA star Ray Allen), is a promising prospect and Jake is given an offer of a reduced sentence if he can convince his son to attend a certain college. The mixture of two of Lee’s own personal preoccupations, basketball and family, makes for a potent combination.

Reviewing the movie when it was released, Kenneth Turan wrote, “Given that writer-director Lee is one of the most visible of the New York Knicks’ celebrity fans, what’s surprising is not that he made a film about the sport he cares so much about but that he waited so long. … Though ‘He Got Game’ is periodically awkward and unruly, it benefits, as many of Lee’s films do, from the director’s determination to connect with the troublesome issues of the real world. Too few American directors work with Lee’s kind of social immediacy, and that makes his films, flawed and didactic though they sometimes are, essential viewing.”

Harmony Korine’s ‘Gummo’

Jacob Reynold, left, and Nick Sutton in Harmony Korine’s ‘Gummo’

(Criterion Collection)

Harmony Korine’s first feature as director, 1997’s “Gummo,” will screen at Vidiots on Monday. The event is co-presented by the Cinegogue, a group perhaps best known for their limited-edition movie-themed clothing drops, but who describe their mission thusly: “Our goal: make movies cool again through concert-like experiences and fanfare. … Because even though a movie might end, cinema is forever.” (And that’s a sentiment we here can get behind.)

The film finds Korine attempting to bring elements of experimental film and video to a nominally more mainstream context. It’s both confrontational and playful. Using a collage-like structure, the film follows a few kids as they make their way around their small town in Ohio after a tornado. Mostly featuring non-actors, the cast also includes Linda Manz and Chloë Sevigny, who is also credited as the film’s costume designer.

Writing about “Gummo” and Korine’s subsequent “julien donkey-boy,” Kevin Thomas made special note of “the intensity of Korine’s compassion for individuals who have so little going for them and so much going against them, yet at times are capable of experiencing an exhilarating freedom of spirit.”

UN experts say Israel ’emboldened by impunity’ for previous journalist killings in Lebanon, Gaza and the West Bank.

Three United Nations experts have called for an independent and thorough investigation into Israel’s recent killing of three journalists in Lebanon, denouncing the deadly incident as “another egregious attack on press freedom by Israeli forces”.

UN special rapporteurs Irene Khan, Morris Tidball-Binz and Ben Saul on Thursday noted that “journalists carrying out their professional duties in armed conflict are civilians and must not be targeted or made the object of attack”.

“The deliberate killing of journalists not directly participating in hostilities constitutes a serious violation of international human rights and humanitarian law and a war crime,” they said in a statement.

The Israeli military killed Al Mayadeen journalist Fatima Ftouni, her brother, freelance photojournalist Mohamad Ftouni, and Al-Manar’s Ali Shoaib in a targeted strike on their car in southern Lebanon on March 28.

Al Mayadeen and Al-Manar are pro-Hezbollah media outlets, and Israel accused Shoaib – without presenting any evidence – of being a fighter with the Lebanese armed group.

That claim was rejected by Shoaib’s colleagues as well as by the UN experts, who on Thursday also stressed that working for media outlets affiliated with an armed group does not mean journalists are directly participating in hostilities under international law.

“Israeli officials know this, yet they choose to ignore it – emboldened by impunity for their previous killings of journalists in Lebanon, Gaza and the West Bank,” they said.

In February, the Committee to Protect Journalists (CPJ) reported that Israel was responsible for two-thirds of all killings of journalists in 2024 and 2025.

More than 60 percent of the 86 members of the press killed by Israeli fire last year were Palestinian journalists reporting from the Gaza Strip amid Israel’s genocidal war in the coastal enclave, the advocacy group found.

After the killings in southern Lebanon last week, CPJ’s Middle East director Sara Qudah also warned that Lebanon is becoming “an increasingly deadly zone for journalists, despite their status as civilians who must not be targeted”.

“We have seen a disturbing pattern in this war and in the decades prior of Israel accusing journalists of being active combatants and terrorists without providing credible evidence,” Qudah said in a statement.

“Journalists are not legitimate targets, regardless of the outlet they work for.”

The UN experts also warned that Israel’s killing of Lebanese journalists is part of “an abominable push … to silence reporting on Israel’s current military action in Lebanon, and shut down news coverage of war crimes committed, just as it did in Gaza”.

At least 1,345 people have been killed and 4,040 wounded in intensified Israeli attacks across Lebanon since early March, according to the Lebanese Ministry of Health.

The UN has condemned the deaths of three Indonesian peacekeepers in southern Lebanon, who were killed in two separate incidents, including a vehicle explosion. They are the latest UN casualties since Israel expanded its ground invasion.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

In another busy week for new releases, the horror-comedy “Forbidden Fruits” is among the standouts. Having just premiered at SXSW, it is the feature debut for director Meredith Alloway, who co-wrote the screenplay with Lily Houghton, adapting Houghton’s play. Diablo Cody is a producer on the film, and the movie shares a sensibility with her beloved “Jennifer’s Body.”

Set at a Texas shopping mall, the plot follows a group of female employees at a boutique who are secretly a coven of witches after hours. They bring a new employee into their fold. Lili Reinhart, Lola Tung, Victoria Pedretti and Alexandra Shipp star.

Alexandra Shipp, from left, Victoria Pedretti, Lili Reinhart and Lola Tung in the movie “Forbidden Fruits.”

(Sabrina Lantos / Independent Film Co. / Shudder)

Though Katie Walsh gave the film a mixed review, declaring it “essentially the fast fashion of girly pop horror,” the film casts a spell when it is working.

Pedretti in particular is a standout, and Malia Mendez spoke to her about the role. “It asks a lot of people to try to step into a world like this one,” Pedretti said of the film’s knowing, campy style. “And as nerve-racking as it may be to take that big swing, you gotta take the big swing.”

Also opening in L.A. this week is Sofia Coppola’s “Marc by Sofia.” The director’s first documentary, it’s more a snapshot than a definitive portrait of the life and career of her longtime friend, fashion designer Marc Jacobs, as he prepares for his spring 2024 collection. While not as in-depth or revealing as one would hope, the film has a warmth and charm all its own. And anyone feeling nostalgic for ’90s New York after watching the recent TV series “Love Story” will get a buzz from this too.

Larry Karaszewski on ‘Last Summer’

Richard Thomas, left, Barbara Hershey and Bruce Davison in the movie “Last Summer.”

(Warner Archive)

The American Cinematheque at the Aero Theatre on Sunday will host the world premiere of a new restoration of the theatrical version of 1969’s “Last Summer,” directed by Frank Perry from a screenplay by Eleanor Perry. Actors Barbara Hershey and Bruce Davison will be there for a Q&A moderated by screenwriter Larry Karaszewski.

“This is one of the holy grails for movie nerds,” says Karaszewski in a recent phone interview. The restoration happened in no small part thanks to his persistent and vocal fandom of the film. Best known for his work with writing partner Scott Alexander (including “Dolemite Is My Name” and “Ed Wood”) and currently a governor in the academy’s writer’s branch, Karaszewski is also a pillar of the repertory scene around Los Angeles, frequently moderating Q&As and an avid moviegoer.

Richard Thomas, left, Barbara Hershey and Bruce Davison in the movie “Last Summer.”

(Warner Archive)

“Last Summer” follows three teenagers (Hershey, Davison and Richard Thomas) whiling away the summer at the beach on New York’s Fire Island. As a certain psychosexual energy escalates among them, winding each other up, they turn their attention to a younger girl (Catherine Burns) and torment her in increasingly sadistic ways.

For her performance, Burns was nominated for an Oscar for supporting actress, while Hershey briefly changed her last name to Seagull after a bird was accidentally injured on set.

In his original July 1969 review, The Times’ Charles Champlin called “Last Summer” “a compelling and disturbing movie, with moments of quite extraordinary power and poignance.”

“This was a movie that people who saw it were just fascinated by,” says Karaszewski. “Even though it came out in ’69, it feels like an important ’70s-style movie, a really rough youth film that used the new freedom that cinema had at that time. But you couldn’t see it.”

Director Frank Perry and screenwriter Eleanor Perry during production of “Last Summer.”

(Warner Archive)

Over time, the rights to the movie changed hands, elements went missing and it became a rarity. Due to an intense rape scene, the movie was also briefly released to some theaters with an X-rating, though Karaszewski says the differences to the R-rated version are minimal — a matter of a few frames and a single word. Released on VHS, “Last Summer” has never been on DVD or Blu-ray. (The Warner Archive label will release a disc of the new restoration later this year.) An edited TV version of the film has circulated, and the last few times “Last Summer” has shown in Los Angeles, it has been from a print discovered at an archive in Australia.

Karaszewski has long had a fascination with the film, one that was only fueled by its inaccessibility.

“It became famous as just, ‘Oh, that’s the movie Larry champions, that’s the movie that Larry won’t stop talking about,’ ” he says. Karaszewski jokes that he won’t know what to do with himself now that his longtime obsession with seeing the film revived has been fulfilled.

“I’ve been championing it so long,” he says. “It could have been just like, ‘Oh, Larry’s a little crazy. He loves this movie.’ And that would’ve been fine too. I’m a person that feels like every movie should have its day in the spotlight.”

The complete Akira Kurosawa in 35mm

An image from Akira Kurosawa’s “Ran.”

(Rialto Pictures)

On Saturday, the Academy Museum launches “Darkness and Humanity: The Complete Akira Kurosawa,” a comprehensive retrospective of the Japanese filmmaker’s 30 existing features, all of which will screen in 35mm. The series opens with two of Kurosawa’s best-known films, “Seven Samurai” and “Rashomon.” Other highlights include “Throne of Blood,” “Ikiru,” “Hidden Fortress,” “Stray Dog,” “High and Low,” “Dreams” and “Ran.” This is a rare opportunity to take in the true breadth of Kurosawa’s work.

Writing about the filmmaker in 2009 to commemorate the centennial of his birth, Dennis Lim said, “The wonder of Akira Kurosawa’s 50-year career is that it was at once remarkably varied and satisfyingly coherent …. But the constant in his films was the principle of heroism, not as a vaporous ideal but a way of life, an awareness of individual agency and personal responsibility in a world that does not always reward or even allow heroic behavior.”

Toshiro Mifune in Akira Kurosawa’s “Yojimbo.”

(Janus Films)

Kurosawa’s influence on other filmmakers around the world has been widely acknowledged. Upon the news of Kurosawa’s death, Steven Spielberg proclaimed him “the visual Shakespeare of our time” and added, “I am deeply saddened by Kurosawa’s death. But what encourages me is that he … is the only director who right until the end of his life continued to make films that were recognized as, or will be recognized as, classics.”

In 1985, while in Los Angeles for a screening of his film “Ran,” Kurosawa described his own work by saying, “I just make up stories and film them. When I am lucky, the stories have a lifelike quality that makes them appealing to people and the film is successful.”

Points of interest

‘To Sleep With Anger’ in 35mm

Actor Danny Glover and director Charles Burnett during production of “To Sleep With Anger.”

(Samuel Goldwyn Company / Photofest)

To celebrate the release of Ashley Clark’s new book “The World of Black Film: A Journey Through Cinematic Blackness in 100 Films,” the UCLA Film and Television Archive will screen Charles Burnett’s 1990 drama “To Sleep With Anger” in 35mm at the Billy Wilder Theater on Sunday. Clark will be there for a book signing, and Burnett will join him for a Q&A.

Recently included as part of The Times’ ranked list of the 101 best Los Angeles movies, “Anger” stars Danny Glover in a galvanizing performance as Harry, an old friend from the South who arrives for an unexpected visit to a family in South Central L.A., upending their lives.

In his book, Clark describes the film as “a singular work with a distinct yet tantalizingly hard-to-pin-down performance from Danny Glover, who, as the inscrutable Harry, flickers between menace and charm, using all of his six-foot-four-inch stature to dominate the frame.”

In a 1990 Times story by David Wallace, Burnett spoke about how the film was meant to evoke a sense of Black cultural history, saying, “I didn’t appreciate the [storytelling] tradition until it disappeared. I had a sense of who I was because of that experience. … This film was an attempt to go back and deal with the past. To tell a story about a story.”

Added Glover: “I think there is a little of Harry in all of us. We’re constantly in conflict between the good side and the other. Harry’s involvement with the dark side is not that uncommon.”

Clark will also appear at the Academy Museum on Monday for the world premiere of Ngozi Onwurah’s restored 1995 film “Welcome II the Terrordome.”

‘Thank You for Smoking’

Aaron Eckhart in the movie “Thank You for Smoking.”

(Dale Robinette / Fox Searchlight Pictures)

On Saturday, Vidiots will host a 20th anniversary screening of Jason Reitman’s debut feature “Thank You for Smoking” in 35mm, with the filmmaker in attendance for a Q&A. Adapted by Reitman from a novel by Christopher Buckley, the film is media satire that follows the misadventures of a lobbyist (Aaron Eckhart) for Big Tobacco. The cast also includes Katie Holmes, Robert Duvall, William H. Macy and Sam Elliott.

In his original review, Kenneth Turan called the movie “that rare film that actually has a sense of humor,” before adding, “Reitman’s script and direction retain the novel’s rhythms and black comic sensibility while at the same time eliminating and/or rearranging large chunks of its plot. He’s also figured out a way to make the story more conventionally audience-friendly without losing the extraordinary bite that made the book so successful.”

I recall an afternoon spent on the Fox lot talking to Reitman and Buckley together for a piece I wrote in 2006. The political climate that the film examines, one of extreme partisanship, has only heightened in the years since.

“The compliment the book always got,” said Reitman at the time, “which I thought was wonderful, was Democrats always thought it was theirs and Republicans always thought it was theirs. Like all good satire, the book was a mirror. … It doesn’t feel like it’s coming from one way or the other. It’s ridiculing both, and hopefully the film does the same thing.”

In the final hours of her life on January 29, 2024, Hind Rajab’s feeble voice could be heard desperately pleading with her mother and emergency workers for help, as she was trapped in a car surrounded by the bodies of six of her relatives.

After finally getting clearance from the Israeli military in Gaza City, a Red Crescent ambulance raced to save the five-year-old girl. But two paramedics were killed when their marked vehicle – whose sirens were blaring – came under Israeli tank fire. The remains of the nine victims were recovered 12 days later.

Two years after the tragedy, a report claims this was a “double tap” attack by the Israeli army. A double-tap strike essentially means carrying out two strikes on the same target, often wounding or killing medics and civilians who are coming to the aid of people harmed in the first attack.

Analysis by the legal campaign group Avaaz has found evidence that the killings contravened international combat law under the Geneva Conventions and the Rome Statute.

“By reconstructing the coordination and timing around the approved ambulance mission, it shows that there is substantial evidence of a deliberate ‘double-tap’ tactic – an initial military strike followed with a deliberately timed second strike targeting emergency responders and medical personnel who arrive to help,” Avaaz says in its report exclusively shared with Al Jazeera. “The brief brings together the timeline of events up to and beyond Hind’s death, showing what Israeli forces must have been aware of at each stage, and the frequent opportunities they had to pull back from murder.

“It documents over 40 human rights violations and ties together how those violations are evidence of a double-tap attack on the hospital workers. Each violation builds to an alarming possibility: Israel is not only killing Palestinians – it is systematically killing those who try to save them. The message is clear: If the medical community tries to help, it will be extinguished.”

More than 1,500 healthcare workers have been killed during Israel’s genocidal war on Gaza, including several since a so-called “ceasefire” came into effect in October.

Avaaz, building on previous investigations by Al Jazeera in partnership with the Hind Rajab Foundation and other media organisations, claims there is clear evidence that this double strike constituted a war crime. The campaign group is now urging the International Criminal Court (ICC) to bring those responsible to justice.

At the time of publishing, the Israeli military had not responded to Al Jazeera’s request for comment.

‘I am absolutely convinced that this is another case of double tap’

Al Jazeera, in partnership with the Hind Rajab Foundation, last year revealed evidence of deliberate killings.

The Israeli government initially claimed that none of its forces was present at the time, later asserting that the 335 bullet holes found in the family’s car were the result of an exchange of fire between Israeli soldiers and Palestinian fighters.

However, a subsequent investigation of satellite imagery and audio from that day by the multidisciplinary research group Forensic Architecture, based at Goldsmiths, the University of London, identified only the presence of several Israeli Merkava tanks in the vicinity of the family’s car and no evidence of any exchange of fire.

The Avaaz report highlights that the ambulance obtained permission from COGAT, an arm of the Israeli military, to go to Hind’s aid, so Israeli forces knew exactly when the first responders would arrive and the route they would take. About three hours passed between the initial shooting of the family vehicle and the attack on the ambulance, indicating the Israeli army had ample opportunity for “situational awareness, communication, and command decision-making”, the report adds.

Avaaz says the ambulance was attacked by a tank in a way that could not have been a warning shot if the military had any reason to believe it was not there to rescue Hind. Instead, the assault “points to lethal targeting”.

The Israeli army gave no warning before attacking the ambulance, previous investigations have found.

“I have taken the investigations done by a number of independent journalistic outfits. I was really struck by the evidence at the end of the whole horrendous incident,” said Sarah Andrew, legal director of Avaaz, who added that as a mother, Hind’s death made her think of her own daughter. “In particular, the kind of weaponry that was used on the ambulance, the timing and the fact that no warning was given – it immediately triggered a question in my mind, and I am absolutely convinced that this is another case of double tap.”

She told Al Jazeera: “It is something that has not had attention, and we would like to take this with [an independent legal] partner to the ICC.”

“What I have done is establish a legal framework for the previous investigation. I think it is very important that we also look at what happened to the ambulance workers as well as what happened to Hind and her family.”

The report says, “Even where an attacking force claims it suspects misuse of a medical vehicle, international humanitarian law requires warnings and an opportunity to comply before an attack can be lawful.”

Andrew said the Israeli military has yet to explain why a tank fired on an ambulance.

“We have not heard from the people responsible. I want them to appear before the ICC and hear what on earth was in their mind when they ordered 120mm tank rounds to be fired into an ambulance,” she said. “Justice is first of all bringing the light of attention into this crime and secondly seeing the persons responsible being accountable for their actions.”

Professor James Sweeney, from the University of Lancaster, who is an expert on human rights and conflict, said in double-tap attacks, the second strike is usually within five to 10 minutes.

It can also mean letting off a small explosion to induce rescuers to respond, then exploding another bomb once they are near.

“The [Avaaz] brief says that the attack on the ambulance should be considered a double tap, but usually the second attack would be within five to 20 minutes and would be considered a trick,” he told Al Jazeera. “It would seem that [in this case] the passage of time was greater, but that does not take anything away from the fact that the attack on the ambulance was so unlawful. You could see it as a form of double-tap, but it is not my normal understanding of it. But in any case, it does not take away from the fact that these were war crimes.”

The Hind Rajab Foundation said in a statement, “The double tap arguments are consistent with our analysis as well. We are continuously preparing for new filings against responsible soldiers in various jurisdictions.

“We have 24 names of responsible perpetrators. We are open to work together with Avaaz on a filing specifically regarding the attack on the ambulance.”

Wave of Israeli air attacks launched as ground offensive widens in south where Hezbollah are fighting Israeli forces.

Israel has attacked a building in Bashoura, a neighbourhood in the heart of Beirut, Lebanon’s National News Agency (NNA) reported, with a blast and smoke rising over the area shortly after Israel issued an evacuation threat for the site.

The attack was part of a deadly wave of Israeli strikes across Lebanon that killed at least 20 people and wounded 24 on Wednesday, according to the country’s Ministry of Public Health, with raids stretching from the capital through southern and eastern parts of the country, a devastating front in the wider United States-Israel war against Iran embroiling the region.

At least six people were killed in the air strikes in Beirut, with dozens injured.

Al Jazeera’s correspondent in Beirut, Zeina Khodr, reported that intense Israeli attacks hit multiple regions across Lebanon, including central Beirut, overnight.

Speaking from in front of a 15-storey building struck in one of the attacks, Khodr said its lower floors had been targeted a week earlier. In the early hours, however, the structure was completely demolished, with the Israeli army claiming Hezbollah had stored cash there.

“You can see the widespread damage across this whole neighbourhood,” Khodr said.

Israel’s military said it had launched what it described as limited ground operations in southern Lebanon, issuing evacuation threats for residents of four towns near the Zahrani River and the Tyre area, warning them to head north immediately.

Lebanon’s NNA also reported strikes on Tyre and the nearby area of Al-Burj Al-Shamali in the pre-dawn hours.

At least four people were killed in an Israeli attack that targeted four houses in the town of Sahmar in eastern Lebanon’s Bekaa Valley.

The intensifying assault has now killed at least 912 people in Lebanon, including 111 children, and wounded more than 2,200 since Israel launched its offensive on March 2, according to Lebanese Health Ministry figures.

More than one million people have been forced from their homes. The United Nations warned on Tuesday that Israeli attacks on residential buildings and civilian infrastructure may constitute war crimes under international humanitarian law.

A spokesperson for the UN human rights office said that deliberately targeting civilians or civilian objects “amounts to a war crime”, adding that Israel’s sweeping displacement orders for southern Lebanon may themselves violate international law.

Khodr said that Hezbollah’s secretary general, Naim Qassem, last night laid down conditions for the war to end, including Israel stopping attacks, displaced people being permitted to return to their homes, those detained over the last two years by Israel being released and the Israeli army withdrawing.

Across southern Lebanon, Khodr said Hezbollah was “still present in the area, trying to repel the Israeli army’s advance”, adding that Hezbollah’s aim was not just territorial control of the region, but preventing Israel from gaining new positions in the country.

The conflict was ignited on February 28 when US and Israeli forces assassinated Iranian Supreme Leader Ali Khamenei in Tehran, prompting Hezbollah to launch rockets into northern Israel on March 2.

Israel has since killed more than 2,000 people across Iran and Lebanon in its attacks.

German Chancellor Friedrich Merz, a staunch Israeli ally, added his voice to growing international concern, warning that Israel’s ground offensive in Lebanon was an “error” that risked worsening what he described as an already dire humanitarian situation.

‘Israelis are not looking for a negotiating partner, they’re looking for decimation.’

Ross Harrison joins an Al Jazeera panel discussion on what the US and Israel are seeking with their killing of senior Iranian leaders.

Iran has named Mojtaba Khamenei as its new supreme leader, just over a week after the assassination of his father, Ayatollah Ali Khamenei, in joint United States-Israeli strikes that have plunged the entire region into a sprawling war.

The 56-year-old, who will now be charged with leading the Islamic Republic through the biggest crisis in its 47-year history, was named by clerics as his father’s successor on Sunday.

Key leaders, Iran’s powerful Islamic Revolutionary Guard Corps (IRGC), and the armed forces were quick to pledge their backing to the new leader.

Ali Larijani, secretary of the Supreme National Security Council, who has been tasked with steering Iran’s security strategy since the US and Israel launched their all-out offensive, called for unity around the new supreme leader.

Parliament Speaker Mohammad Bagher Ghalibaf welcomed the choice, saying that following the new supreme leader was a “religious and national duty”.

Mojtaba Khamenei has never run for office or been subjected to a public vote, but has for decades been a highly influential figure in the inner circle of the supreme leader, cultivating deep ties to the IRGC.

In recent years, Khamenei has increasingly been touted as a top potential replacement for his father. His selection could be a sign that more hardline factions in Iran’s establishment retain power, and could indicate that the government has little desire to agree to a deal or negotiations in the short term as the war enters its second week.

Al Jazeera’s Ali Hashem described Khamenei as his “father’s gatekeeper”.

“He adopts the positions of his father with respect to the United States, with respect to Israel. So we are expecting a confrontational leader. We’re not expecting any moderation,” he said.

“However, if this war comes to an end and he is still alive, and he is able to continue running the country, there is going to be big potential… to find new routes for Iran,” Hashem said.

Rami Khouri, a distinguished public policy fellow at the American University of Beirut, said Khamenei’s appointment signals “continuity” and that it remains to be seen whether the new supreme leader will push for negotiations to end the war.

Either way, he said, the appointment was “an act of defiance”. Iran is “telling the Americans and Israelis, ‘You wanted to get rid of our system? Well … this is a more radical person than his father who was assassinated,’” he said.

Heidari Alekasir, a member of the Assembly of Experts that was tasked with choosing the supreme leader, said the candidate had been picked based on the late Khamenei’s advice that Iran’s top leader should “be hated by the enemy” instead of praised by it.

“Even the Great Satan [US] has mentioned his name,” the senior cleric said in reference to US President Donald Trump’s earlier statement that Mojtaba Khamenei would be an “unacceptable” choice for him to lead Iran.

Israel’s military had previously warned any successor that “we will not hesitate to target you”.

On Sunday, Trump again promised to exert influence over who is selected as Iran’s next supreme leader, saying that, without Washington’s approval, whoever is picked for the role is “not going to last long”.

The selection of Khamenei’s son is certain to enrage Trump.

Supreme leader not decided by ‘Epstein’s gang’

The 88-member Assembly of Experts said on Sunday that it “did not hesitate for a minute” in choosing a new supreme leader, despite “the brutal aggression of the criminal America and the evil Zionist regime”.

Earlier, the clerical body had indicated it had reached a majority consensus on its choice, without naming who it was, with one member saying, “The path of ⁠Imam Khomeini and ⁠the path of the martyr Imam Khamenei has been ⁠chosen. The name of ⁠Khamenei will continue.”

Mojtaba Khamenei studied under conservative clerics in the seminaries of Qom, the heart of Shia theological learning, and holds the clerical rank of hojjatoleslam, a mid-level clerical ranking.

Ali Khamenei, who led Iran for 37 years, succeeding Ayatollah Ruhollah Khomeini, who had led the 1979 revolution, was killed in a US-Israeli strike on Tehran on February 28, at the outset of the war, which has now unleashed chaos throughout the Middle East.

The ⁠Israeli ⁠military has already threatened to kill any replacement for Khamenei, while Trump said the war may only end once Iran’s military and leaders have been wiped out.

“He’s going to have to get approval from us,” Trump told ABC News. “If he doesn’t get approval from us, he’s not going to last long,” Trump said on Sunday of any new supreme leader.

Iranian officials have rejected Trump’s push to be involved in the selection of the next leader, insisting that only Iranians can decide the future of their country.

On Friday, Iranian Parliament Speaker Mohammad Bagher Qalibaf appeared to ridicule the US president’s demands.

“The fate of dear Iran, which is more precious than life, will be determined solely by the proud Iranian nation, not by [Jeffrey] Epstein’s gang,” Ghalibaf wrote on X, referring to the late sex offender who had ties to rich and powerful figures in the US.

Dark skies

As clerics selected the new supreme leader, a dark haze hung over Tehran after Israel struck five oil facilities in and around the capital city overnight, setting them ablaze and filling the skies with acrid smoke.

As the war extended into its ninth day, the IRGC said they had enough supplies to continue their drone and missile attacks across the Middle East for up to six months.

IRGC spokesman Ali Mohammad Naini said Iran had so far used only first- and second-generation missiles, but would use “advanced and less-used long-range missiles” in the coming days.

Trump again refused to rule out sending American ground troops into Iran, but continued to insist that the war was all but won, despite the ongoing Iranian missile and drone strikes.

Analysts warn there is no clear path to ending the conflict, which US and Israeli officials say could last a month or longer.