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How a complete unknown created one of the most iconic music events of the 1970’s
“I’ve always been a stranger,” Ido Fluk told me when I met him in a near-empty conference room in a sleek, Nordic-designed hotel in Berlin this past February. It was the afternoon after the Berlin Film Festival’s world premiere of the Israeli director’s German-language film, Köln 75, a kinetic behind-the-scenes look at Keith Jarrett’s famous live album, The Köln Concert. Jarrett improvised the hour-long set at the Cologne Opera House on Jan. 24, 1975, on a substandard piano — a beat-up baby grand rehearsal piano instead of the 10-foot-long Bösendorfer Imperial he’d been promised.
The film has grossed over a million dollars at the German box office — no mean feat for a domestic production — and was nominated for four Lola awards (Germany’s version of the Oscars) including Best Picture.
Fluk, 40ish, with tousled hair and a thick mustache, stubble and round, dark-framed glasses, had a peripatetic upbringing. Born in Tel Aviv, he was raised both there and in Paris, where his family relocated for five years during his childhood. Just shy of 20, he moved to New York City to study at N.Y.U.’s Tisch School of the Arts.
He returned to Israel to shoot his first feature film, Never Too Late (2011) about a young Israeli man who comes home after eight years in South America and takes a road trip in his 1985 Volvo through the country he left behind. It holds the unusual distinction of being the first crowd-funded Israeli film and won the main prize at the Fribourg Film Festival. Fluk shot his next film, The Ticket (2016), about a blind man who regains his vision, in Kingston, New York. Köln 75 was filmed largely on location in Cologne.
“I’ve always been, like, moving around. So for me, it’s very natural to go to a new country to make a film,” said Fluk. “I also think it’s the story of cinema a little bit these days where art house cinema in the States is kind of a dying breed. You see more and more filmmakers from the U.S. traveling to Europe.”
“And, you know,” he added, “it’s also kind of the story of Keith Jarrett in the 70s, which is that jazz musicians were losing their audiences in the States, and they started coming to Europe, because in Europe they still found an eager audience for their work. So I could identify with that, in a way.”
Fluk was wearing a black T-shirt for the British punk rock band Idles that showed a man in a balaclava posing with a birthday cake. The image was captioned, “JOY STILL AN ACT OF RESISTANCE.” Fluk has a musical background. When he moved to New York, he played bass for “all these punk bands that never made it.” One band that sort of did was Elephant Parade, a lo-fi indie outfit that he formed with his now-partner, Estelle Baruch. They played legendary venues and festivals like CBGB and South by Southwest and even opened for Beirut.
“I’m not a good musician by any means,” he said, “but it helps you understand just how difficult what Jarrett is doing. It’s such a feat, what this man was doing in the 70s, which means driving in this tiny car, and every night showing up at a new city and playing a new thing that nobody’s ever heard before. He doesn’t think about it. He just starts playing.”
Despite, or perhaps because of, the respect that Fluk has for Jarrett (a reclusive artist, now 80, who had nothing to do with the film), the director did not set out to make a conventional biopic. Instead, the narrative and emotional center of the film, which Fluk also wrote, is Vera Brandes, the 18-year-old self-made concert promoter who, 50 years ago, signed Jarrett for the gig, sold out the venue, and convinced the reluctant pianist to perform on a subpar keyboard for the 1400-strong crowd that packed into the Cologne Opera House for the 11:30 pm concert. (The late hour was due to a performance of Alban Berg’s Lulu earlier that evening, a wonderfully strange detail that makes it into the film).
“There are a lot of movies about music that tell you the same story. It’s about the artist. It’s about his rise. There’s some complication, then there’s a comeback, there’s a big show at the end. And here was a story about the woman behind the scenes. It wasn’t a story about the artist so much as about the promoter and the invisible people behind the artist. I thought that was really interesting and fresh,” Fluk said. At the start of the shoot, Fluk invited Brandes, now 69, to visit the set, an event that he recalled as inspiring for him and the film’s team.
“She’s like a punk rock goddess from the 70s who, like, changed the world and never got a proper thank you. This was an opportunity to shine a light on her, because however good Keith Jarrett is, no Vera Brandes, no ‘Cologne Concert.’ If Keith Jarrett had the perfect piano on stage that night, the album wouldn’t sound the way it sounds, and it wouldn’t be as special as it is,” he said.
Mala Emde, a 29-year-old German actress, plays Brandes as a spirited and determined young woman striking out on her own, using her charm, enthusiasm and tenacity to navigate (and often bluff her way through) an exciting adult world that she cannot wait to enter. Emde carries the film on her capable shoulders. Jarrett, performed with brittle world-weariness by the American actor John Magaro, is another standout.
Köln 75 was in pre-production for four years and Fluk used that time to learn German. “By the time we were shooting, I already understood German. Now I can read, I can understand – I don’t like speaking it because I sound like an idiot — but it was enough for me to hear actors improvise, which was really important for me in this film, because it’s a film about improvisation and it needed to feel free,” he said. He added that Michael Winterbottom’s 2002 film 24 Hour Party People, about the birth of rave culture in late 1970s Manchester, was a key inspiration in terms of tone and energy, calling it “the spirit animal of this film.”
Fluk didn’t reveal too much about his upcoming projects, which include an HBO series based on the bestselling non-fiction book Empty Mansions and a legal thriller about the trial of Julius and Ethel Rosenberg, which Fluk described as “a really beautiful script and really important story about American Jews and the way they were perceived in America.”
With so many stateside projects lined up, can we expect Fluk to film again in Europe or Israel in the future?
“If the story I want to tell is located there? Absolutely,” he said. “I am very agnostic about territory. I have a film, and the film says where it needs to be shot, then we go there and shoot it.”
Köln 75 begins its theatrical run at the IFC Center in New York on Oct. 17. (It opens a week later in Los Angeles).
The post How a complete unknown created one of the most iconic music events of the 1970’s appeared first on The Forward.
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Tu B’Shvat, Conscious Eating, and the Jewish Call to Return
Orange trees in Israel’s northern Galilee region. Photo: פואד מועדי / Wikimedia Commons
Tu B’Shvat, the Jewish New Year for the Trees, is often celebrated simply: fruit on the table, blessings over figs and dates, and a nod to nature in the middle of winter. For those who do things a bit more lavishly, a ceremony or seder is conducted.
But at its core, the holiday of Tu B’Shvat is far more than a seasonal celebration. It is a day that offers a profound Jewish teaching about food, responsibility, and the possibility of return.
To understand that teaching, we have to go back to the very first act of eating in the Torah.
In the Garden of Eden, God gives Adam and Eve permission to eat freely from nearly everything around them. Only one boundary is set: there is one tree that is off limits. When Adam and Eve cross that boundary, the result is a rupture of faith between humans and God, which results in a series of other ruptures between humans and the earth — and humans and themselves.
One of the great Chassidic masters, Rabbi Tzadok HaKohen (1823-1900), suggested that the problem was not simply what they ate, but how they ate: without awareness, without restraint, and without consciousness. They consumed, rather than received.
Five hundred years ago, the kabbalists of Tzfat transformed Tu B’Shvat from a technical agricultural date into a spiritual opportunity. They taught that the world is filled with sparks of holiness, and that our everyday actions, especially eating, can either elevate those sparks or bury them further. This lesson has recently been discussed by the Jerusalem-based educator Sarah Yehuit Schneider.
Eating, in Jewish thought, is never neutral.
When we eat with intention and gratitude, we participate in tikkun olam, repairing the world. When we eat mindlessly, we reenact the mistake of Eve and Adam from the Garden of Eden.
The holiday of Tu B’Shvat invites us to try again.
There is another detail worth noting. The Torah’s first description of the human diet is explicitly plant-based: “I have given you every seed-bearing plant and every fruit-bearing tree; it shall be yours for food.” That diet, which was given in Eden, does not end with humanity’s exile from paradise. For generations to come, until after the great flood in the time of Noah, that diet continued in a world already marked by moral compromise.
On Tu B’Shvat, when Jews sit down to a table of fruit, we are quietly returning to that original vision of eating plant-based food that sustains life without taking it, nourishment that reflects restraint rather than domination.
That idea feels especially urgent today.
Our food choices now affect far more than our own bodies. They shape the treatment of animals, the health of the planet, and the sustainability of our food systems. Eating “without knowing” is something that carries grave consequences, which are all too visible in our society.
To observe conscious eating today means asking hard questions: Who is harmed by this choice? What systems does it support? What kind of world does it help create?
In my work as a rabbi and educator with Jewish Vegan Life, I encounter many Jews grappling with these questions, most of whom possess a desire to align their daily choices with enduring Jewish values of compassion, responsibility, and reverence for life.
Tu B’Shvat reminds us that Judaism does not demand perfection, but it does demand awareness. It teaches that repair is possible, not only through grand gestures, but through daily choices repeated with intention.
Redemption begins when a person makes a choice to eat their meal consciously. This is what the seder on Passover is for and what it reminds us of, and the same holds true for the seder on Tu B’Shvat.
The custom to eat fruits on Tu B’Shvat, the choice to have a seder or ceremony, reminds us of the consciousness that we must approach all of our meals with. On Tu B’Shvat, we are being asked to reconsider how we eat, how we live, and how we might take one small step closer to the world as it was meant to be. It is, after all, according to the Mishna in tractate Rosh Hashanah, one of the four New Years of the Jewish calendar.
Rabbi Akiva Gersh, originally from New York, has been working in the field of Jewish and Israel education for more than 20 years. He lives with his wife, Tamar, and their four kids in Pardes Hanna. He is the Senior Rabbinic Educator at Jewish Vegan Life. https://jewishveganlife.
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Jewish Survival Depends on the Existence of a Jewish State
People with Israeli flags attend the International March of the Living at the former Auschwitz Nazi German death camp, in Brzezinka near Oswiecim, Poland, May 6, 2024. Photo: REUTERS/Kuba Stezycki
“The past is never dead, it is not even past,” a quotation from William Faulkner’s novel, Requiem for a Nun, is frighteningly apt today in relation to antisemitism.
Many of us are wondering if the antisemitism we are witnessing now is comparable to the antisemitism our parents or grandparents experienced during the 1930s, almost 100 years ago.
The parallels are obvious — the hatred and demonization of Jews/Israelis (especially on social media), boycotts of Jewish and Israeli businesses and products, and the aggressive public protests that include genocidal language and target Jewish neighborhoods and houses of worship.
There are also the increasingly common violent physical attacks on Jews, including murder, often carried out to coincide with Jewish festivals and religious observances.
There are also differences, of course.
Nothing like the 1935 Nuremberg Laws stripping German Jews of their rights, and designed to separate Jews from German society, have been enacted anywhere. But this point may not be as comforting as it sounds, because today, the most antisemitic countries in the world are not in Europe. They are in North Africa and the Middle East and, with the exception of a few thousand Jews remaining in Iran, these countries have virtually no Jews left to threaten. A majority of those Jews who once resided in that part of the world, and their descendants, are safe in Israel.
The existence of a Jewish State is the primary difference between the Jewish predicament today, and the situation that existed in the 1930s.
An episode such as that of the S.S. St. Louis, when 937 Jews fleeing Europe before the outbreak of World War II were denied sanctuary and sent back to almost certain death, would never happen today.
The Évian Conference is another example of Jewish powerlessness during the 1930s. Held from July 6 to July 15, 1938, representatives of 32 countries met in the French spa town of Évian-les-Bains to search for a solution to the Jewish refugee crisis precipitated by the intense antisemitism unleashed by the Nazis.
The conference achieved very little, and today the Évian conference is widely believed to have been a cynical ploy to deflect attention away from the refusal to raise US immigration quotas, or even fill existing quotas, to save Jews.
With the exception of the Dominican Republic (in the end, only a little more than 700 Jewish refugees found sanctuary there), no country agreed to accept Jewish refugees.
In a shocking example of indifference to Jewish concerns, representatives of a number of non-governmental organizations, including several Jewish ones, could observe but not participate in the proceedings. Golda Meir, an observer representing the Jewish Agency in Palestine at the Évian Conference is quoted as saying, “I don’t think anyone who didn’t live through it, can understand what I felt at Evian — a mixture of sorrow, rage, frustration and horror.”
In April 1943, American and British representatives met in Bermuda to discuss what to do with the Jewish refugees, both those liberated by the Allies as the war progressed, and those who might still be alive in Nazi-occupied Europe. The venue, Bermuda, a remote location in the midst of World War II, was chosen to minimize press coverage.
As in the case of Évian, no Jewish organization was allowed to participate. At the time the conference was held, there was no doubt about the full extent of the Nazi effort to exterminate the Jews of Europe. Yet, once again, nothing was achieved. As in the case of the Évian Conference, the Bermuda Conference was a public relations event, and not an actual effort to protect Jewish lives.
All of these events — and hundreds more throughout history — emphasize the importance of a sovereign Jewish state for Jewish safety and survival. But what really makes this point stand out is a history that is often overlooked; the role that Mandatory Palestine played in saving Jews from the Holocaust.
Aliyah numbers show that despite restrictions limiting Jewish immigration imposed by British officials, and widespread opposition to Jewish immigration by Palestinian Arabs, approximately 200,000 to 250,000 Jews, mainly from Germany and Eastern Europe, were able to find sanctuary in the Mandate during the 1930s. How many more would have been saved had there been an independent Jewish state?
Jacob Sivak, a Fellow of the Royal Society of Canada, is a retired professor, University of Waterloo.
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Did the Bondi Attack Actually Change Australia?
Grandparents of 10-year-old Matilda, who was killed during a mass shooting targeting a Hanukkah celebration on Sunday, grieve at the floral memorial to honor the victims of the mass shooting at Bondi Beach, in Sydney, Australia, Dec. 16, 2025. Photo: REUTERS/Jeremy Piper
The Bondi terrorist attack on December 14, 2025, changed Australia.
But in many ways, it also didn’t.
The shock of watching a murderous rampage unfold at one of our most iconic sites, in what Australians long believed was a safe, peaceful country, shook the nation to its core.
Fifteen innocent people being murdered at a peaceful Hanukkah event is something so foreign to the experience of Australians, that it shattered the country’s sense of security overnight. Most Australians believed this kind of hatred was something that occurred elsewhere, not here.
Such trauma can prompt genuine reflection — which in turn may lead to genuine change.
In the aftermath of the attack, Prime Minister Anthony Albanese struck a markedly different tone than he had previously, showing an empathy with Australia’s Jewish community that many of us felt was often sorely missing in the months following October 7, 2023.
On January 22, 2026, Albanese initiated a National Day of Mourning, observed across the country. Fifteen sites were illuminated to commemorate the 15 victims, Australians were encouraged to light candles in their windows, and — strikingly — the government even urged citizens to perform a mitzvah — yes, it used that word — in the victims’ memory, publishing a list of 15 suggested acts of kindness.
In a nationally televised address at the Sydney Opera House — the very site where, on October 9, 2023, crowds had gathered to celebrate the Hamas massacre in Israel — the Prime Minister offered a direct apology to the Jewish community, acknowledging that “we could not protect your loved ones from this evil.”
Five days later, on International Holocaust Remembrance Day, Albanese released a statement commemorating the six million Jews murdered in the Holocaust, describing “the immense multitudes of Jewish lives and futures stolen with a pitiless cruelty that remains scarcely fathomable in its evil.” To be fair, he issued a similar statement on the same day last year.
This moral clarity contrasted starkly with the BBC and US Vice President JD Vance, who both failed to even mention the word “Jew” in their statements marking Holocaust Remembrance Day.
Albanese’s apology for the Bondi massacre was a sharp departure from what had often been a strained and acrimonious relationship between his government and the Jewish community, driven by persistent and often disproportionate criticism of Israel during its war against Hamas and other terrorist groups, alongside a series of concrete policy decisions widely perceived as hostile toward a longstanding democratic ally.
In the weeks following Bondi, the government moved swiftly to legislate, recalling parliament early in order to pass a package of new federal hate and extremism laws, including the Combatting Antisemitism, Hate and Extremism Bill. These measures criminalize participation in designated hate groups, impose penalties of up to 15 years in prison for directing such organizations, expand visa-cancellation powers for individuals promoting hate, and tighten controls on extremist symbols and propaganda. A provision to criminalize extreme racial vilification was dropped in the face of the Opposition’s objections to it.
New South Wales, where the attack occurred, also introduced state-level laws granting police broader powers around protests linked to declared terrorist events.
A Royal Commission has also been commissioned to investigate antisemitism in Australia in the lead-up to the Bondi attack, following pressure from broad sections of the community after Albanese was initially opposed to holding one.
These steps were welcomed by the Jewish community, yet it remains far too early to declare them transformative. After all, hate-speech laws already existed across Australian jurisdictions, but were only rarely used.
History therefore suggests that legislation alone is rarely enough; the true test is whether authorities are willing to enforce the laws consistently, especially when doing so becomes politically uncomfortable.
And that discomfort may arrive very soon.
The upcoming visit of Israeli President Isaac Herzog in early February, at Prime Minister Albanese’s invitation, will serve as a critical test of whether the empathy shown after Bondi represents a lasting shift or a fleeting political moment.
Already, Labor Friends of Palestine have called for President Herzog to be blocked from coming and investigated for alleged incitement and complicity in war crimes. Multiculturalism Minister Dr. Anne Aly initially declined to confirm whether she would welcome the Israeli President on his state visit, before later offering a notably lukewarm endorsement. There are also mass protests planned against his visit by anti-Israel groups. How the government deals with this will be telling.
These are the same kind of groups that supported Hamas after Oct. 7, and appeared on Australia Day, the national celebration of identity and unity, with calls for “intifada.”
Australia is currently at a crossroads in its relationship with Israel and also the Jewish community here. How it navigates that relationship could well determine the future of Jewish life in Australia. Hopefully the solidarity now being shown will be maintained and enhanced. But if it proves to be temporary, and the hostility being drummed up by the local anti-Zionist movement resurges, then the long-term feelings of belonging and security that underpin Australia’s long thriving Jewish community will likely erode further.
That, tragically, could echo the same sad and tragic path of many past Jewish communities throughout history.
Justin Amler is a policy analyst at the Australia/Israel & Jewish Affairs Council (AIJAC).