Features
JCFS works to meet the needs of Holocaust survivors
By BERNIE BELLAN In 1933 the Jewish population of Europe was 9.5 million. Following the war it was 3.5 million. Two thirds of European Jewry perished in the Holocaust. Prior to the war Poland had the largest Jewish population in Europe: over 3 million. Following the war, it was reduced to about 45,000.
There were approximately 4 million Jews living in the Soviet Union or Soviet Union-occupied territories prior to the war. Approximately 1.5 million survived – either by hiding in the forest or fleeing deeper into the Soviet Union.
By 2020, however, according to the Claims Conference, which represents all Holocaust survivors in negotiations for reparations with various governments, particularly the German government, only 400,000 of the 3.5 million Holocaust survivors still remained alive.
But, where did the Holocaust survivors end up?
A good many Holocaust survivors made their way to Israel, where about 400,000 were still alive in 2020. Of the rest, the majority made their way to North America, primarily the US.
According to the Jewish Heritage Centre though, approximately 35,000 Holocaust survivors made their way to Canada by 1953, of whom about 1,000 settled in Winnipeg.
The number of Holocaust survivors here took a further increase some years later, according to Adeena Lungen (who is one of two social workers working full time for Jewish Child and Family Service in the area of Holocaust Support Services, the other being Sonja Iserloh. There is also a Russian-speaking worker on the staff of JCFS, Margarita Iskijavev, who also deals to a certain extent with Holocaust survivors.)
There were actually two waves of Holocaust survivors whose origins were mostly from within the former Soviet Union, and who made their way to Winnipeg within the past 40 years, according to Adeena. The first wave was made up of emigrés who had been allowed to leave the Soviet Union in the 1970s and early 1980s.
The second, and more recent wave, has been made up of parents of younger immigrants who were adults and who have come to Winnipeg, primarily from Israel.
Still, with the inevitable attrition as a result of the fact that almost all Holocaust survivors are now at least in their 80s or 90s, the number of Holocaust survivors in Winnipeg has been dwindling.
According to Adeena, there are “around 100 in the JCFS database”.
We were curious to know though, how the lives of these Holocaust survivors has been impacted by Covid in the past two years, so we spoke with Adeena to find out more about a group about which most of us don’t know very much.
It turns out that I have encountered many of these Holocaust survivors – without realizing it, several times at the Lubavitch Jewish Learning Centre, when I’ve attended various events there, also at the Adas Yeshurun – Herzlia Synagogue (which is where we used to have our office), and where I would occasionally see groups – almost all made up of women, congregating there. (Adeena explained that, prior to Covid, the Herzlia used to play host to frequent luncheons for Russian speaking Holocaust survivors.)
Adeena told me that she began working at JCFS in 1999 and moved into working with Holocaust survivors in 2000.
Much of her work has involved dealing with compensation claims through the aforementioned Claims Conference, which has distributed over $457 million in compensation to survivors around the world to date.
(I noted, in talking to Adeena, that we had been publishing a full page ad every year for quite some time that would be sent to us by an Israeli advertising agency, in which new information about claims and eligibility for survivors would be listed. It occurred to me that we haven’t received an ad of this sort for quite some time, so I contacted our Israeli intermediary to ask him if he knew why that was. He told me that he has also been asking the Claims Conference why they haven’t publicized any new announcements regarding compensation. Subsequently he told me that he forwarded my inquiry to the Claims Conference and he did receive a response back from them. In his words, “This looks promising.”)
While it may seem unusual for governments, especially Germany’s, to constantly be revising the criteria for compensation for Holocaust victims, Adeena explained to me that the process of negotiation is an ongoing one, with new criteria for eligibility for compensation being added on a constant basis. Interestingly, she noted, the government of Romania has also now engaged in negotiating compensation for Romanian Jews.
As a result, much of Adeena’s work over the years has involved filing applications for individuals. As one might expect, there is a great deal of documentation required in the process, but Adeena says the results have been gratifying.
In addition to compensation received from outside sources, the JCFS has created special programs designed to meet the particular needs of Holocaust survivors within our local community.
For instance, JCFS is able to provide home care services for Holocaust survivors, depending on their physical and financial needs, with financial assistance coming either from the Claims Conference or a Montreal-based centre known as the Cummings Centre. Those two organizations allocate funds to partner agencies such as the JCFS which, in turn, decides who gets home care.
I asked Adeena what types of services are available through home care?
She said: “Cleaning, doing laundry, and companionship – above and beyond what the WRHA might provide.”
Given the advanced ages of most of Holocaust survivors, I wondered how many are still able to live on their own?
Surprisingly, Adeena said the answer is that most are still living on their own – and the home care, as well as other support services provided by JCFS and other agencies such as the Gwen Secter Centre and the Rady JCC, have played instrumental roles in allowing so many of these survivors to remain relatively autonomous.
“Since 2000, the Gwen Secter Centre has been hosting a luncheon program twice a month for Holocaust survivors,” Adeena noted (a program, incidentally, she started), although of late that program has been scaled back to once a month.
Adeena further added that “For the last several years Heather Mandell-Kraut, the JCFS Team Lead in Older Adult Services, and Keith Elfenbein, JCFS Case Aide in Older Adult Services, have coordinated and run the group. With the arrival of Covid, both Heather and Keith have kept the group operating both virtually and in person, when possible. The continuity of this program, especially during these challenging times, has had a positive impact on the overall well being of survivors.”
The Chabad Lubavitch has also been very involved with Russian speaking seniors – not just Holocaust survivors, Adeena said. And, while in-person meetings are not taking place as a result of Covid, there is a “tight knit” group that meets regularly online, and which is facilitated by another JCFS worker, Anna Shoichet.
“Before the pandemic that group numbered around 40-50,” Adeena noted; however, since the pandemic took hold the number has shrunk to “20-30”, she said.
I wondered though, whether the advent of Covid has had any more traumatic effect on Holocaust survivors than the general population?
Adeena responded that survivors are having to deal with “some of the same issues that affect us all”….yet there is no doubt that the “confinement” associated with Covid, along with the even more traumatic isolation associated with the lockdowns to which seniors especially have been subjected have exacerbated the feelings of isolation that were already fairly common with Holocaust survivors.
“For these people the fear of dying is always present,” Adeena said, “yet they still show incredible resilience and resourcefulness.”
For survivors, the common refrain, she noted, is that “I’ve survived the Holocaust; I’ll survive this, too.”
“I don’t think survivors are in worse shape than they were before Covid,” Adeena added, although she cautioned that one area that has had a particularly debilitating effect, not only on survivors, but on many other seniors, is in decreased visits to doctors.”
In that regard, JCFS is in constant communication with all its senior clientele, almost always by phone, checking to make sure that things are all right and that day to day affairs are being tended to.
Adeena pointed to the hiring of Danielle Tabacznik as the JCFS’s “Seniors Concierge” in 2020 as an example of how JCFS is taking a pro-active approach in reaching out to isolated seniors in the community. Danielle keeps in touch with regular groups of seniors, often facilitating communication among seniors over the phone through group chats. Adeena clarified that “the creative initiatives developed by Danielle Tabacznik, the Jewish community’s Senior Concierge, are the results of a pilot project of the Jewish Federation of Winnipeg that is housed at JCFS.”
And, while more recently, Adeena and other workers have been able once again to see many of their clients in person, the restrictions necessitated by Covid protocols still entail much of thier work being conducted over the phone.
Over the past couple of years I’ve often been focusing on the work that many of our agencies have been doing in adapting to the hardships thrust upon so many of the less fortunate among us. In so many ways Winnipeg’s Jewish community can be proud of how agencies such as the JCFS have continued to seek out new ways of interacting with those among us who might otherwise go unnoticed. And, as we note in our story about the Jewish Federation and its continued success in helping those agencies to meet those goals on page1, this is one Jewish community that continues to meet the challenges thrust upon it by Covid.
Features
So, what’s the deal with the honey scene in ‘Marty Supreme?’
By Olivia Haynie December 29, 2025 This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
There are a lot of jarring scenes in Marty Supreme, Josh Safdie’s movie about a young Jew in the 1950s willing to do anything to secure his spot in table tennis history. There’s the one where Marty (Timothée Chalamet) gets spanked with a ping-pong paddle; there’s the one where a gas station explodes. And the one where Marty, naked in a bathtub, falls through the floor of a cheap motel. But the one that everybody online seems to be talking about is a flashback of an Auschwitz story told by Marty’s friend and fellow ping-ponger Béla Kletzki (Géza Röhrig, best known for his role as a Sonderkommando in Son of Saul).
Kletzki tells the unsympathetic ink tycoon Milton Rockwell (Kevin O’Leary) about how the Nazis, impressed by his table tennis skills, spared his life and recruited him to disarm bombs. One day, while grappling with a bomb in the woods, Kletzki stumbled across a honeycomb. He smeared the honey across his body and returned to the camp, where he let his fellow prisoners lick it off his body. The scene is a sensory nightmare, primarily shot in close-ups of wet tongues licking sticky honey off Kletzki’s hairy body. For some, it was also … funny?
Many have reported that the scene has been triggering a lot of laughter in their theaters. My audience in Wilmington, North Carolina, certainly had a good chuckle — with the exception of my mother, who instantly started sobbing. I sat in stunned silence, unsure at first what to make of the sharp turn the film had suddenly taken. One post on X that got nearly 6,000 likes admonished Safdie for his “insane Holocaust joke.” Many users replied that the scene was in no way meant to be funny, with one even calling it “the most sincere scene in the whole movie.”
For me, the scene shows the sheer desperation of those in the concentration camps, as well as the self-sacrifice that was essential to survival. And yet many have interpreted it as merely shock humor.
Laughter could be understood as an inevitable reaction to discomfort and shock at a scene that feels so out of place in what has, up to that point, been a pretty comedic film. The story is sandwiched between Marty’s humorous attempts to embarrass Rockwell and seduce his wife. Viewers may have mistaken the scene as a joke since the film’s opening credits sequence of sperm swimming through fallopian tubes gives the impression you will be watching a comedy interspersed with some tense ping-pong playing.
The reaction could also be part of what some in the movie theater industry are calling the “laugh epidemic.” In The New York Times, Marie Solis explored the inappropriate laughter in movie theaters that seems to be increasingly common. The rise of meme culture and the dissolution of clear genres (Marty Supreme could be categorized as somewhere between drama and comedy), she writes, have primed audiences to laugh at moments that may not have been meant to be funny.
The audience’s inability to process the honey scene as sincere may also be a sign of a society that has become more disconnected from the traumas of the past. It would not be the first time that people, unable to comprehend the horrors of the Holocaust, have instead derided the tales of abuse as pure fiction. But Kletzki’s story is based on the real experiences of Alojzy Ehrlich, a ping-pong player imprisoned at Auschwitz. The scene is not supposed to be humorous trauma porn — Safdie has called it a “beautiful story” about the “camaraderie” found within the camps. It also serves as an important reminder of all that Marty is fighting for.
The events of the film take place only seven years after the Holocaust, and the macabre honey imagery encapsulates the dehumanization the Jews experienced. Marty is motivated not just by a desire to prove himself as an athlete and rise above what his uncle and mother expect of him, but above what the world expects of him as a Jew. His drive to reclaim Jewish pride is further underscored when he brings back a piece of an Egyptian pyramid to his mother, telling her, “We built this.”
Without understanding this background, the honey scene will come off as out of place and ridiculous. And the lengths Marty is willing to go to to make something of himself cannot be fully appreciated. The film’s description on the review-app Letterboxd says Marty Supreme is about one man who “goes to hell and back in pursuit of greatness.” But behind Marty is the story of a whole people who have gone through hell; they too are trying to find their way back.
Olivia Haynie is an editorial fellow at the Forward.
This story was originally published on the Forward.
Features
Paghahambing ng One-on-One Matches at Multiplayer Challenges sa Pusoy in English
Ang Pusoy, na kilala din bilang Chinese Poker, ay patuloy na sumisikat sa buong mundo, kumukuha ng interes ng mga manlalaro mula sa iba’t ibang bansa. Ang mga online platforms ay nagpapadali sa pag-access nito. Ang online version nito ay lubos na nagpasigla ng interes sa mga baguhan at casual players, na nagdulot ng diskusyon kung alin ang mas madali: ang paglalaro ng Pusoy one-on-one o sa multiplayer settings.
Habang nailipat sa digital platforms ang Pusoy, napakahalaga na maunawaan ang mga format nito upang mapahusay ang karanasan sa laro. Malaking epekto ang bilang ng mga kalaban pagdating sa istilo ng laro, antas ng kahirapan, at ang ganap na gameplay dynamics. Ang mga platforms tulad ng GameZone ay nagbibigay ng angkop na espasyo para sa mga manlalaro na masubukan ang parehong one-on-one at multiplayer Pusoy, na akma para sa iba’t ibang klase ng players depende sa kanilang kasanayan at kagustuhan.
Mga Bentahe ng One-on-One Pusoy
Simpleng Gameplay
Sa one-on-one Pusoy in English, dalawa lang ang naglalaban—isang manlalaro at isang kalaban. Dahil dito, mas madali ang bawat laban. Ang pokus ng mga manlalaro ay nakatuon lamang sa kanilang sariling 13 cards at sa mga galaw ng kalaban, kaya’t nababawasan ang pagiging komplikado.
Para sa mga baguhan, ideal ang one-on-one matches upang:
- Sanayin ang tamang pagsasaayos ng cards.
- Matutunan ang tamang ranggo ng bawat kamay.
- Magsanay na maiwasan ang mag-foul sa laro.
Ang simpleng gameplay ay nagbibigay ng matibay na pundasyon para sa mas kumplikadong karanasan sa multiplayer matches.
Mga Estratehiya mula sa Pagmamasid
Sa one-on-one matches, mas madaling maunawaan ang istilo ng kalaban dahil limitado lamang ang galaw na kailangan sundan. Maaari mong obserbahan ang mga sumusunod na patterns:
- Konserbatibong pagkakaayos o agresibong strategy.
- Madalas na pagkakamali o overconfidence.
- Labis na pagtuon sa isang grupo ng cards.
Dahil dito, nagkakaroon ng pagkakataon ang mga manlalaro na isaayos ang kanilang estratehiya upang mas epektibong maka-responde sa galaw ng kalaban, partikular kung maglalaro sa competitive platforms tulad ng GameZone.
Mas Mababang Pressure
Dahil one-on-one lamang ang laban, mababawasan ang mental at emotional stress. Walang ibang kalaban na makaka-distract, na nagbibigay ng pagkakataon para sa mga baguhan na matuto nang walang matinding parusa sa kanilang mga pagkakamali. Nagiging stepping stone ito patungo sa mas dynamic na multiplayer matches.
Ang Hamon ng Multiplayer Pusoy
Mas Komplikado at Mas Malalim na Gameplay
Sa Multiplayer Pusoy, madaragdagan ang bilang ng kalaban, kaya mas nagiging komplikado ang laro. Kailangan kalkulahin ng bawat manlalaro ang galaw ng maraming tao at ang pagkakaayos nila ng cards.
Ang ilang hamon ng multiplayer ay:
- Pagbabalanse ng lakas ng cards sa tatlong grupo.
- Pag-iwas sa labis na peligro habang nagiging kompetitibo.
- Pagtatagumpayan ang lahat ng kalaban nang sabay-sabay.
Ang ganitong klase ng gameplay ay nangangailangan ng maingat na pagpaplano, prediksyon, at strategic na pasensiya.
Mas Malakas na Mental Pressure
Mas mataas ang psychological demand sa multiplayer, dahil mabilis ang galawan at mas mahirap manatiling kalmado sa gitna ng mas maraming kalaban. Kabilang dito ang:
- Bilisan ang pagdedesisyon kahit under pressure.
- Paano mananatiling focused sa gitna ng mga distractions.
- Pagkakaroon ng emosyonal na kontrol matapos ang sunod-sunod na talo.
Mas exciting ito para sa mga manlalarong gusto ng matinding hamon at pagmamalasakit sa estratehiya.
GameZone: Ang Bagong Tahanan ng Modern Pusoy
Ang GameZone online ay isang kahanga-hangang platform para sa mga naglalaro ng Pusoy in English. Nagbibigay ito ng opsyon para sa parehong one-on-one at multiplayer matches, akma para sa kahit anong antas ng kasanayan.
Mga feature ng GameZone:
- Madaling English interface para sa user-friendly na gameplay.
- Real-player matches imbes na kalaban ay bots.
- Mga tool para sa responsible play, tulad ng time reminder at spending limits.
Pagtatagal ng Pamanang Pusoy
Ang Pusoy card game in English ay nagpalawak ng abot nito sa mas maraming players mula sa iba’t ibang bahagi ng mundo habang pinapanatili ang tradisyunal nitong charm. Sa pamamagitan ng mga modernong platform tulad ng GameZone, mananatiling buhay at progresibo ang Pusoy, nakakabighani pa rin sa lahat ng antas ng manlalaro—mula sa casual enjoyment hanggang sa competitive challenges.
Mula sa maingat na pag-aayos ng mga cards hanggang sa pag-master ng estratehiya, ang Pusoy ay isang laro na nananatiling relevant habang ipinapakita ang masalimuot nitong gameplay dynamics na puno ng kultura at inobasyon.
Features
Rob Reiner asked the big questions. His death leaves us searching for answers.
Can men and women just be friends? Can you be in the revenge business too long? Why don’t you just make 10 louder and have that be the top number on your amp?
All are questions Rob Reiner sought to answer. In the wake of his and his wife’s unexpected deaths, which are being investigated as homicides, it’s hard not to reel with questions of our own: How could someone so beloved come to such a senseless end? How can we account for such a staggering loss to the culture when it came so prematurely? How can we juggle that grief and our horror over the violent murder of Jews at an Australian beach, gathered to celebrate the first night of Hanukkah, and still light candles of our own?
The act of asking may be a way forward, just as Rob Reiner first emerged from sitcom stardom by making inquiries.
In This is Spinal Tap, his first feature, he played the role of Marty DiBergi, the in-universe director of the documentary about the misbegotten 1982 U.S. concert tour of the eponymous metal band. He was, in a sense, culminating the work of his father, Carl Reiner, who launched a classic comedy record as the interviewer of Mel Brooks’ 2,000 Year Old Man. DiBergi as played by Reiner was a reverential interlocutor — one might say a fanboy — but he did take time to query Nigel Tufnell as to why his amp went to 11. And, quoting a bad review, he asked “What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?”
But Reiner had larger questions to mull over. And in this capacity — not just his iconic scene at Katz’s Deli in When Harry Met Sally or the goblin Yiddishkeit of Miracle Max in The Princess Bride — he was a fundamentally Jewish director.
Stand By Me is a poignant meditation on death through the eyes of childhood — it asks what we remember and how those early experiences shape us. The Princess Bride is a storybook consideration of love — it wonders at the price of seeking or avenging it at all costs. A Few Good Men is a trenchant, cynical-for-Aaron Sorkin, inquest of abuse in the military — how can it happen in an atmosphere of discipline.
In his public life, Reiner was an activist. He asked how he could end cigarette smoking. He asked why gay couples couldn’t marry like straight ones. He asked what Russia may have had on President Trump. This fall, with the FCC’s crackdown on Jimmy Kimmel, he asked if he would soon be censored. He led with the Jewish question of how the world might be repaired.
Guttingly, in perhaps his most personal project, 2015’s Being Charlie, co-written by his son Nick he wondered how a parent can help a child struggling with addiction. (Nick was questioned by the LAPD concerning his parents’ deaths and was placed under arrest.)
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None of the questions had pat answers. Taken together, there’s scarcely a part of life that Reiner’s filmography overlooked, including the best way to end it, in 2007’s The Bucket List.
Judging by the longevity of his parents, both of whom lived into their 90s, it’s entirely possible Reiner had much more to ask of the world. That we won’t get to see another film by him, or spot him on the news weighing in on the latest democratic aberration, is hard to swallow.
Yet there is some small comfort in the note Reiner went out on. In October, he unveiled Spinal Tap II: The Beginning of the End, a valedictory moment in a long and celebrated career.
Reiner once again returned to the role of DiBergi. I saw a special prescreening with a live Q&A after the film. It was the day Charlie Kirk was assassinated. I half-expected Reiner to break character and address political violence — his previous film, God & Country, was a documentary on Christian Nationalism.
But Reiner never showed up — only Marty DiBergi, sitting with Nigel Tuffnell (Christopher Guest), David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) at Grauman’s Chinese Theater in Los Angeles. The interview was broadcast to theaters across the country, with viewer-submitted questions like “What, in fact, did the glove from Smell the Glove smell like?” (Minty.) And “Who was the inspiration for ‘Big Bottom?’” (Della Reese.)
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- Carl Reiner On Judaism, Atheism And The ‘Monster’ In The White House
- Mandy Patinkin On His Favorite ‘Princess Bride’ Quote
DiBergi had one question for the audience: “How did you feel about the film?”
The applause was rapturous, but DiBergi still couldn’t get over Nigel Tuffnell’s Marshall amp, which now stretched beyond 11 and into infinity.
“How can that be?” he asked. “How can you go to infinity? How loud is that?”
There’s no limit, Tuffnell assured him. “Why should there be a limit?”
Reiner, an artist of boundless curiosity and humanity, was limitless. His remit was to reason why. He’ll be impossible to replace, but in asking difficult questions, we can honor him.
The post Rob Reiner asked the big questions. His death leaves us searching for answers. appeared first on The Forward.