Tender

New illegal settlement tender in West Bank deepens Israeli efforts to sever Palestinian ties to Jerusalem, officials warn.

Israeli authorities have issued a tender for 627 new housing units in the Kochav Yaakov settlement in the occupied West Bank, according to the Palestinian Colonization and Wall Resistance Commission (CRRC).

The Israel Land Authority on Thursday published the tender for the project, which will be built on land in the Ramallah and al-Bireh governorate, the commission said on Saturday.

Israel set November 30 as the deadline for construction companies to submit bids, moving the project from planning to construction just 15 months after it was first approved, it said.

CRRC slammed the expansion, saying it is designed to “deepen the separation between Jerusalem and its Palestinian surroundings”.

The illegal Israeli settlement of Kochav Yaakov sits between northern Jerusalem and the twin cities of Ramallah and el-Bireh, within a cluster of settlements Israel administers under the name “Binyamin”.

According to CRRC, the new project covers 253.7 dunams (25.37 hectares or about 63 acres) and was approved by Israeli authorities on April 27, 2025.

It says the tender marks the transition from planning to the “marketing and implementation” stage of settlement construction, with the new units expected to expand the illegal settlement’s built-up area and strengthen its links to nearby settlements and access roads. It added that the decision reflects growing investment in settlements’ economic infrastructure, not just housing.

The Israeli decision is one of several the commission has tracked this year aimed at tightening Israel’s illegal control and pressure on the Palestinian region.

According to CRRC, Israeli authorities have made 12 illegal settlement tenders in the first half of 2026, including 1,138 housing units concentrated in five main settlements, alongside a separate wave of tenders for industrial zones, offices, nursing homes and tourism facilities.

Illegal settlement expansion and settler violence have surged dramatically across the occupied West Bank this year. Palestinian monitors have recorded more than 11,000 attacks by Israeli forces and settlers across the West Bank since January 2026.

United Nations Secretary-General Antonio Guterres has repeatedly said Israeli settlements have “no legal validity” and constitute a “flagrant violation” of international law.

A 2024 International Court of Justice advisory opinion deemed Israel’s continued occupation of Palestinian territory unlawful.

LOVE ME TENDER

(15) 134mins

★★★★☆

BREAK-UPS can be horribly complicated, especially when there are children involved.

This emotionally intelligent, exquisitely acted film shows the depths of despair warring couples can go to over a custody battle.

We meet Clémence (Vicky Krieps), a former lawyer, who has separated from her husband, Laurent (Antoine Reinartz). The split is amicable, and they are raising their young son, Paul, who lives with his dad.

But unbeknown to her ex, Clémence, who has quit her job to write, is now exploring her sexuality and having relationships with multiple women.

An awkward evening drink with Laurent reveals how he is clearly still in love with Clémence, while she makes it clear her desires lie in women.

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This suddenly changes everything between the pair, with Laurent claiming Paul doesn’t want to see her during her next visit.

The scenes are not overplayed with emotion, but are slowly devastating as Clémence struggles with the sudden change in a family arrangement that was so comfortable before.

Soon, authorities are brought in, and horrific claims are made against Clémence’s character.

She is only able to see Paul at supervised visits in a soulless social service office.

All this unfolds in a slow exhale on screen rather than an explosion, with Clémence juggling heartbreak and frustration with various relationships, her ill father and her career.

Adapted from Constance Debré’s 2020 novel, director Anna Cazenave Cambet allows this distressing story to show the huge problems that parents’ egos can cause for their child’s future.

Krieps is sensational in the role, allowing her face to portray so many emotions and carrying huge emotional strain.

While Clémence is the focal point of the audience’s sympathy, she, too, can be self-absorbed and a little cruel to lovers.

This shows she is human rather than just a victim. The story never gets bogged down in courtroom battles, but rather lingers on little moments Clémence feels as her time with her precious son slips away.

Running over two hours, these are perhaps overused, and the pace is unapologetically slow in many scenes.

But with stand-out acting from Krieps, it makes this film feel voyeuristic, as it is so natural, and while in emotional agony, we all still just carry on.

HUNT FOR THE WILDERPEOPLE

(12A) 101mins

★★★★★

IN celebration of its tenth anniversary, this charming offbeat comedy is being re-released in cinemas for a new generation to enjoy.

And, the bonus, of course, it also brings the recently deceased and hugely talented Sam Neill back to the big screen.

Set in the sweeping countryside of New Zealand, it is the story of “Uncle Hec” (Neill), a grumpy foster father who is delivered a troublesome child, Ricky (Julian Dennison), by the welfare services.

The pair soon spark a full-on search when they set off on a bizarre outback adventure.

Dennison’s performance is both comedy and tragedy, going from an offensive teen obsessed with being “gangster” to an abandoned child looking for emotional security.

And Neill manages to step away from caricature to make Hec layered and empathetic.

But there’s a refreshing lack of cliché and sentimentality, too. The characters don’t simply transform into different people just because they have experienced getting lost in the wilderness together.

Directed by Taika Waititi, it’s still the best buddy movie since Up in 2009.

NIMRODS

(15) 116mins

★★☆☆☆

THIS overly complicated coming-of-age film is somewhat based on punk-pop band Green Day.

Yet, while it features the US rockers, is full of their songs and has a storyline that revolves around getting to their gig, it lacks the ­confidence to be about them entirely, which is a shame.

School dropout Tommy (Mason Thames) is a huge fan and receives a phone call from his pranking older brother, inviting his garage grunge band to open for Green Day.

So he and his pals hit the road in a stolen taxi with barely a penny to their name, believing they are going to perform at a huge gig, with no prior experience, record agent or links to anyone in the industry. Just one prank phone call.

Inspired by the real band’s early days touring in vans before the release of breakout album Dookie in 1994, this film takes place in modern times but could easily be set in the Nineties.

And it probably should have been. With the great soundtrack and nostalgic footage of the real band at the end, it leaves you craving a documentary on Billie Joe Armstrong and co.

In cinemas from Tuesday.