Uncategorized
A new film brings to life ‘the largest single work of art created by a Jew during the Holocaust’
(New York Jewish Week) — While hiding from the Nazis, the German Jewish artist Charlotte Salomon began a series of autobiographical paintings and texts with a painfully simple description of her aunt, and namesake’s, suicide: “Scene 1: 1913. One November day, a young girl named Charlotte Knarre leaves her parents’ home and jumps into the water.”
Intense and memorable, that image is the launching point for “Life? or Theatre?”, a series of hundreds of gouaches Salomon made between 1940 and 1942. Best described as an “autobiographical play,” it features personal stories illustrated with vibrant paintings and cues for music. Salomon, in her 20s when she made the body of work, called it a “singspiel,” a play with music.
And now, a new film directed by French sisters Delphine and Muriel Coulin, delivers a cinematic representation of her best-known work. “Charlotte Salomon: Life and the Maiden” will make its world premiere at Lincoln Center on Weds., January 18 as a centerpiece of the New York Jewish Film Festival.
The film lies somewhere between cinema and art installation: Aside from a brief opening and conclusion, Salomon’s expressive paintings take up most of the screen time. Sound design brings the paintings to life, as does the music Salomon indicated in her original script, along with text read by the actress Vicky Krieps (“Phantom Thread,” “Corsage”), who plays protagonist Charlotte.
“We didn’t want to make a pure documentary of her,” co-director Delphine Coulin told the New York Jewish Week. “What had never been done was to make a true film with the painting, the music and the text, and to imagine what Charlotte was visualizing when she was painting… Because the neighbors said they could hear her singing while she was painting.”
French sisters Muriel Coulin, left, and Delphine Coulin are co-directors of “Charlotte Salomon: Life and the Maiden.” (Richard Schroeder)
These days, Salomon — who died at Auschwitz at age 26 in 1943 — is something of a cult favorite among art lovers and Jewish historians. In a 2017 New Yorker article, writer Toni Bentley notes that “Life? or Theatre?” is “the largest single work of art created by a Jew during the Holocaust.” She is also sometimes compared to Anne Frank. Critics have noted this comparison does neither artist justice, distinguishing between the youthful directness of Frank’s writing as an adolescent in hiding with the more mature, sophisticated representations made by Salomon as a young artist.
Born in Berlin in 1917, Salomon grew up in a cultured German Jewish family. Her mother died when she was 8. She studied at the German capital’s prestigious Academy of Arts until the Nazis’ rise to power made it impossible for her to continue. In 1938, her father spent a brief period in an internment camp — after his release, he sent his daughter to stay with her grandparents in the south of France, where he hoped she’d be safe.
After Salomon’s arrival at Villefranche-sur-Mer in 1939, her grandmother attempted suicide and eventually died. Only then did Salomon learn that her mother had died by suicide as well, and that the women in her family had a history of depression (though it isn’t covered in the film, there is some evidence that her grandfather may have been abusive).
In “Life? or Theatre?” Salomon writes: “My life began when my grandmother ended hers, when I learned that my mother too had ended her life, and that deep down I felt the same predisposition to despair and death. I thought to myself: either I kill myself too, or I create something really crazy and extraordinary.”
For the next two years, Salomon did just that, creating some 1,300 paintings about her life in exile. She accompanied these paintings with text and musical cues that included Bach, Schubert, Mahler and the German anthem “Deutschlandlied,” creating an entire multimedia body of work.
As the Nazi grip tightened in France, Salomon, realizing the danger she faced, brought a box containing all her paintings to a friend, the town’s doctor. The film recounts what she tells him: “Take care of it. This is my whole life.” Just weeks later, Salomon, five months pregnant, was sent to Auschwitz, where she died on Oct. 10, 1943.
While Salomon’s work includes depictions of Nazis, antisemitism and persecution, the majority of “Life? or Theater?” — and therefore the film — is dedicated to the explosive inner life and autobiography of its creator. She explores suicide, Freudian lust, psychological distress, music, philosophy and her own artistic impulses.
Yet “Life? or Theatre?” is unmistakably a product of its time, and as such the film includes historical images of Hitler’s rise. Though the French filmmakers don’t identify as Jewish themselves, Delphine said that she and her sister have some Jewish family, and she noted the film’s content is more relevant than ever. “Antisemitism never did end, but now in France and in Europe, it is stronger and stronger than ever, since 1945,” she said. “We really see it and we talk to it nearly each day. We can’t ignore it.”
“With all these strange times we’re living in, Charlotte gives you strength, because she really crossed the times with a strong belief in art and love,” she added.
The film ends with astonishing footage from the early 1960s of Salomon’s father and stepmother, who survived hiding in the Netherlands, looking through their daughter’s paintings as they are interviewed about her. “I was surprised when I discovered her work,” says her father Albert Salomon. He had known nothing of his late daughter’s project until the couple visited Villefranche-sur-Mer after the war, hoping to find some traces of Charlotte’s life.
“The work is very, very vivid — very expressive of life in all its aspects,” said Delphine of Salomon’s art — and the Coulin sisters, in turn, were inspired to bring the work to a broader audience. In 2019, Muriel directed her first theater piece, “Charlotte,” a rendition of Salomon’s work for the stage that played in Paris at the Théâtre du Rond Point. When the COVID-19 pandemic shut down the production, the Coulins transposed their medium to film.
Delphine added that they were also drawn to what she called the “poignant story” of Salomon’s brief life, now immortalized by her singular creative impulse in the face of adversity.
“In difficult times — and her times were probably the most difficult times ever — she really believed in art,” she said. “How art makes you survive. How it can give you a piece of eternity. We wouldn’t speak about her this way if she had not been able to make this wonderful work.”
“Charlotte Salomon: Life and the Maiden” will screen on Weds., January 18 at 12:00 p.m. and 6:00 p.m. at the Walter Reade Theater at 165 West 65th St. For additional information on the New York Jewish Film Festival, which runs through Monday, January 23, click here.
—
The post A new film brings to life ‘the largest single work of art created by a Jew during the Holocaust’ appeared first on Jewish Telegraphic Agency.
Uncategorized
Israel’s opposition has the numbers to defeat Netanyahu. Will it let him survive anyway?
According to exit polls, Israel’s opposition appears to have achieved something remarkable: a parliamentary majority of up to 70 seats, including the Arab parties, over Benjamin Netanyahu and his allies. In almost any other parliamentary democracy, such a result would be understood as a decisive victory for the forces seeking a change of government. Yet Israel may be heading toward the extraordinary spectacle of an opposition that wins a commanding majority and nevertheless allows the incumbent to remain in power.
The reason is a political taboo: several opposition leaders have promised not to form a government dependent on the support of Arab parties, even though virtually every plausible path to replacing Netanyahu requires precisely that.
And if the exit polls are right, those Arab parties have almost doubled their Knesset representation, to perhaps 18 seats in the 120-seat Knesset. This happened because of a huge increase in voter turnout among the 20 percent of Israelis who are Arabs.
In past elections, almost half the Arabs stayed home on election day, compared to participation levels of around 80 percent among Jews. The surge appears to have been driven by despair over the perceived hostility of the Netanyahu government, and anger over ultranationalist National Security Minister Itamar Ben-Gvir, who has displayed inaction and indifference about the lawlessness that bedevils the Arab sector.
The two Arab parties – Ra’am and the United Arab List – have already offered to back Gadi Eisenkot, the former military chief who heads the largest opposition party, Yashar.
This landscape presents the wider opposition with a real dilemma. Its leaders may end up breaking their most important promise to voters — to remove Netanyahu from office — in order to honor a secondary promise not to form a governing coalition with Arab parties and depend on the safety net they offer. That promise should have been no more than a white lie to reassure wavering Jewish voters who in the past supported the right. Sticking to it would be a spectacular case of snatching defeat from the jaws of victory.
In his speech to supporters after polls closed Tuesday, Eisenkot promised to use the results to set up a government. “The Israeli public voted to end Netanyahu’s rule as the prime minister of Israel,” he said. “It’s my personal duty to do everything to bring about the will of the people.”
If Eisenkot and the rest of the opposition now show resolve, a minority government supported from outside by Arab lawmakers is one possibility. A coalition that includes at least Ra’am, the pragmatic Islamist party that participated in Israel’s 2021 governing coalition, is another. Defections from the right could also help assemble a government. These also should be considered, as long as those joining it are not given the power to block essential reforms or perpetuate the policies that voters sought to reject.
None of the options are clean and simple. But the notion that Arab parliamentary support renders a government illegitimate is neither a democratic principle nor a reflection of Israel’s political history.
Indeed, a look at that history reveals something that Netanyahu’s long dominance has helped obscure. Since the political upheaval of 1977, Likud victories have generally depended on ultra-Orthodox support, while victories by the non-Likud camp have repeatedly depended on Arab votes.
In 1984, Shimon Peres managed to force a parliamentary tie with the help of six seats held by Arab parties. In 1992, Yitzhak Rabin’s victory yielded a majority of 61 seats only when five Arab lawmakers were counted. In 1999, Ehud Barak won a landslide in the direct election for prime minister, but his reliable parliamentary bloc numbered only 60 seats, including 10 Arab lawmakers. The addition of right wing parties enabled him to govern.
The pattern continued in 2006, when Kadima’s victory was widely perceived as decisive, even though its assured parliamentary bloc numbered just 60 seats without additional Arab support. And in 2021, Yair Lapid’s success in assembling a government that ended Netanyahu’s 12 consecutive years in power depended on a parliamentary alignment of 61 lawmakers opposed to Netanyahu, including 10 Arab representatives.
With the notable exception of Ra’am in 2021, Arab parties generally did not become formal coalition partners. Peres formed a national unity government with Likud – and Rabin, his majority secured via the Arab parties, formally brought in the religious party Shas. In all these cases the Arabs’ parliamentary support for the opposition helped prevent Likud from forming a government and made alternative coalitions possible. In some cases, Arab lawmakers then supported the government from outside, while politicians from the traditional right-wing camp eventually crossed political lines to join the governing arrangement.
Against that historical background, the 2026 result should be understood as an extraordinary opportunity for Israel’s liberal and anti-Netanyahu forces. The central question is whether their leaders will recognize it or miss the opportunity.
Netanyahu remains the prime minister under whose watch the catastrophe of Oct. 7 occurred. His government has resisted the establishment of a state commission of inquiry into the failures surrounding the attack. His coalition has advanced measures widely criticized as threats to democratic institutions, while presiding over an increasingly polarized society.
Another term for Netanyahu and his present allies could deepen Israel’s institutional deterioration, social divisions and strategic vulnerability. For critics who believe the country is already approaching a dangerous democratic and societal crossroads, the stakes are difficult to overstate.
There is also a striking inconsistency in the argument that relying on Arab support is somehow beyond the bounds of legitimate politics.
Netanyahu himself explored the possibility of forming a government with the support of Mansour Abbas, the leader of Ra’am, in 2021. That possibility collapsed largely because Bezalel Smotrich, now one of Netanyahu’s most prominent far-right partners, refused to accept it.
The time has come for Israel to show some appreciation for its Arab citizens, who constitute roughly one-fifth of Israel’s population. They work, study, pay taxes and participate in the country’s civic and economic life. They vote in national elections and elect representatives to the Knesset. There is no coherent democratic justification for treating those representatives’ mandates as inherently less legitimate than those of Jewish lawmakers.
To be sure, Arab political parties hold positions, particularly on the Palestinian question, that many Jewish Israelis find deeply objectionable. Some of those disagreements are profound, and coalition negotiations involving Arab parties inevitably raise difficult questions about national identity, security and the Israeli-Palestinian conflict.
But ultra-Orthodox parties also hold positions that many secular Israelis regard as fundamentally incompatible with their vision of the country, including on religious authority, military service and civil liberties. Far-right parties in Netanyahu’s coalition have promoted policies that critics see as far more damaging to democratic norms than anything the Arabs might do.
There will undoubtedly be pressure for a national unity government, possibly from Washington. President Donald Trump, who endorsed Netanyahu, seems likely to pressure Eisenkot to agree. The machinations might include restarting the war with Iran. Eisenkot should resist it all.
Israel’s declaration of independence promised equality. Israel’s opposition has a golden opportunity to keep that promise.
The post Israel’s opposition has the numbers to defeat Netanyahu. Will it let him survive anyway? appeared first on The Forward.
Uncategorized
A watch party without Netanyahu? Supporters tried to project cheer
(JTA) — JERUSALEM — Forty-five minutes after Israeli channels released their first exit polls, a silence had washed over the Likud election watch party held at the International Convention Center in Jerusalem.
Supporters had waited in anticipation for the exit polls to appear on the screen. When Channel 14 — which had a broadcast desk stationed in the corner of the room — first showed its poll, a cheer circulated through those in attendance. But as everyone looked down at their phones to track the results from the other channels, the mood became increasingly subdued.
Supporters hoping for a strong Netanyahu victory were disappointed by polls showing that his Likud party did not have enough support to form a governing coalition.
They had hoped to celebrate the moment with Netanyahu, who, in the end, did not show up.
The initial exit polls, released at 10 p.m. as polling stations closed, showed Likud as the largest party. However, neither it nor its committed coalition partners had gained enough seats for a parliamentary majority that would allow it to form the next government. Channel 12 had Prime Minister Benjamin Netanyahu’s bloc, which at its height had 68 seats in the outgoing Knesset, dropping to 50, with the opposition parties at 53 across the network projections.
The Central Elections Committee hopes to finish counting the votes by Thursday. By law, the official results have to be published by Nov. 4.
The historic turnout in the election, billed by many as the most consequential in Israel’s history, stood in stark contrast to the empty convention center hall. It appeared that only the most dedicated of Bibi fans had decided to make the trip to the watch party. Three hardcore supporters held up a blue and white Likud flag while chanting “Malach Bibi,” meaning “King Bibi,” with a crowd of journalists pushing past each other to get footage.
Every two minutes, the Likud jingle echoed through the hall on a loop, and a string of AI-generated Likud election videos played on the screen. The lectern sat empty, and Netanyahu had not issued a statement in the wake of the first results. Netanyahu, along with Likud MKs, had been expected to address supporters in the hall had there been a clearer mandate; instead, journalists gathered, snacking on refreshments while waiting for more Likud supporters to show up.
Yossi Levi, 71, a pensioner from Eilat, made the long drive to Jerusalem to show his support. He said that for his entire tenure as prime minister, Netanyahu has had to fight the 120 members of the Knesset for his survival, and that he “thankfully” had so far always come out on top.
Levi recalled his time working on the Likud security team when Netanyahu first began his career and paused the interview to shake hands with Netanyahu’s head of security before returning to his story. Whether or not Netanyahu was able to form a coalition, he said, his support would remain unwavering.
That appeared to describe the crowd on Tuesday night: those who had stood by Netanyahu as he ascended to the heights of Israeli electoral power, and who were standing by him now, as his bloc appeared to shed 18 seats in the Knesset.
Boaz, who lives in the city center of Jerusalem, described the mood as not exactly disappointment “but something in the middle,” as the results did not yet indicate a clear winner or loser and adding that it was now time for coalition politics to begin.
Holding a blue-and-white Likud flag and milling about the lobby alone, he did not project confidence but insisted that he would stay at the event in case any of the party’s parliamentary members decided to show up.
With few audience members in attendance, the event center gave the appearance of something of a crashed party. By 11 p.m. Jerusalem time, the hall had begun to empty, with both supporters and those there to cover the event deciding to leave the scene.
This article originally appeared on JTA.org.
The post A watch party without Netanyahu? Supporters tried to project cheer appeared first on The Forward.
Uncategorized
Jewish treasures stolen by Nazis 88 years ago come home, thanks to an Arizona synagogue
(JTA) — What could one purchase with boxes of Crisco, bags of coffee and cartons of cigarettes in chaotic postwar Germany?
For Moishe Saksenhaus, a young Holocaust survivor from Belarus, the answer was: two Jewish ritual textiles, hundreds of years old.
The seller said he’d stolen them himself from a burning Berlin synagogue on Nov. 9, 1938 — the November Pogrom, commonly called Kristallnacht.
Moishe brought those two items — a Torah wimple, or sash, and a parochet, or Torah ark curtain — with him to America, taking them out of their suitcase only on special occasions. After Moishe’s death in 1993, his family donated them to his synagogue, Temple Chai in Phoenix, Arizona. They remained on display there until the building was deconsecrated in 2026. The congregation moved to a new location in nearby Scottsdale this spring.
Last week, nearly 88 years after Kristallnacht the two items made their way back to Berlin.
In a ceremony at the site of the New Synagogue Berlin Foundation-Centrum Judaicum museum and archive, on Oranienburger Strasse, Associate Rabbi Bonnie Koppell of Temple Chai handed them over to Berlin Jewish Community president Gideon Joffe.
“There were people who felt individually attached to the items” in Phoenix, Koppell told the Jewish Telegraphic Agency in a phone interview before her trip. “But ultimately, I think everyone realized that they belonged in their home. If the people from whom they were stolen wanted them back, that was where they belong.”
The handover took place Oct. 22 in the presence of Joffe, Rabbi Gesa Ederberg, historian Rabbi Andreas Nachama, members of the Berlin community and 29 visitors from Arizona.
“It’s been a very moving and touching journey, for both our guests from the United States and for these historical items,” said Nickolai Todorov, a Berlin Jew who accompanied the U.S. visitors as a tour guide. “It was just a special thing to be an eyewitness to.”
Rabbi Bonnie Koppell, left, and Sandy Koppell examine the Torah curtain (parochet) and Torah wimple during the handover ceremony at the New Synagogue Berlin–Centrum Judaicum, Oct. 22, 2026. (Nicolai Froundjian)
The large parochet is embroidered with the text of the Kiddush, the Jewish blessing over wine, in versions for the Sabbath and holidays. Along the lower edge of the text is what might be the signature of the artist, in Hebrew: “This handiwork of mine is not to bring me honor, rather to bring merit for the multitudes in accord [with the biblical verse] ‘And Yitzchak went out to pray at the field’ — Yitzchak Itzik ben C’harad Yehuda Leib z“l [of blessed memory] from Rivnitz,” a town in Moldova whose small Jewish community dated back to at least 1800.
The highly decorated wimple, which would have been used to bind a Torah scroll, bears a blessing for a child named Yitzchak “Itzik” ben Kavod Ha-rav Gistori, likely embroidered in honor of his brit milah, or ritual circumcision.
A spokesperson for the Berlin Jewish community, an umbrella for several congregations of various denominations, told JTA in an email that its experts had been unable to confirm which pre-World War II synagogue the Torah curtain came from, but that it would be added to the Centrum Judaicum collection. There are plans to display the wimple at the community center on the site of the former Fasanenstrasse synagogue.
Sol Saksenhaus, 72, a retired special-ed teacher, is one of those Arizona congregants who felt sad to let the objects go. It was his father who had bought them, protected and carried them across the ocean to his new home in America. Sol and his brother had grown up with these objects, which had taken on an aura of sacredness.
But they are “being given back as a sign of love from our community, to light them up again,” he told JTA in a telephone interview from Phoenix. “I can live with that, and I know my parents in heaven can live with that, too.”
Sol’s parents, Moishe and Rosa Saksenhaus, had escaped the Warsaw Ghetto through the sewers, and joined with partisans to commit acts of sabotage against the Germans. The Soviets eventually deported them to Siberia, where their first child died. After the war, Moishe and Rosa made their way back west, following American army lines and ending up in a Displaced Persons camp in the town of Feldafing, Germany.
Moishe, street-smart and multilingual, got a job translating for the U.S. military in Traunstein, Sol related. His father told him he became involved with black market activities, such as collecting British Army bicycles and having them sent to Palestine.
“My dad may have had a little bit of a reputation as one of the go-to guys, that if you wanted something, my dad knew how to get it,” Sol said.
Which may be why this particular German man approached him one day.
“He said he was a medical doctor. He kept approaching my dad with pictures” of the Jewish objects, Sol recounted. His father recalled the man’s name as “Ahgar.” He’d complained about conditions under American occupation: “’We don’t get anything; we’re on limited rations,’” the man told Sol’s father. “My dad said he was arrogant, and that he wanted the stuff he used to have from before.”
“He threatened my dad: He says, ‘I was part of the patrol that went into the temple’” on Fasanenstrasse in Berlin. He claimed to have taken the two items during the raid, and threatened to destroy them if Moishe did not procure Crisco, coffee, flour, cigarettes and cigars.
“My dad pretty much told him to ‘get the f–k away. I can’t look at you.’ But the guy was persistent. And the trade happened.”
Moishe Saksenhaus brought the objects to the U.S. when he and Rosa emigrated. “He cherished them, but he didn’t know what he was going to do with them,” said Sol. On rare occasions his father would show them to the family. “When that thing came out, it was like opening the holy ark… I kind of like froze, and just watched the emotions” on the family’s faces.
Sol’s father died in late 1993. There was a rise in Holocaust denial at the same time, Sol recalled; Deborah Lipstadt’s book, “Denying the Holocaust: The Growing Assault on Truth and Memory,” was published that June. It was also the year that Steven Spielberg’s Oscar-winning film “Schindler’s List” came out, sparking new interest in the Holocaust and its legacy. His mother and aunt decided to donate the tapestry and wimple to Temple Chai, to help with Holocaust education. Before handing the tapestry over to Rabbi William Berk, then the temple’s spiritual leader, Rosa Saksenhaus tore the swastika off an old tag on the tapestry. “This is not going into a temple like this,” she told her son.
The centuries-old Jewish ritual textiles, stolen during Kristallnacht in 1938 and traded after the war to a survivor for coffee and tobacco, are returned to the Berlin Jewish community during a ceremony at the New Synagogue Berlin–Centrum Judaicum, Oct. 22, 2026. (Nicolai Freundjian)
Sol recalled that Berk sent the items to an expert at the University of California in Los Angeles, who determined they were from the 16th century. Berk, who moved to Israel with his family in 2007 after more than two decades with the congregation, could not be reached for comment.
And so the tapestry remained hanging on the synagogue’s north wall. Rosa died in 1999. In 2006, Bonnie Koppell was installed as associate rabbi. In 2022, Rabbi Emily Segal took on the role of senior rabbi.
Two years ago, Sol brought a friend to see the wimple and the tapestry.
“I had seen these objects in our sanctuary for 30 years, knowing only that they had been ‘rescued’ during Kristallnacht,” recalled Joan Neer, assistant to Koppell, who heard Sol’s story for the first time that day. “In reality they were brutally taken,” she said.
The encounter “ignited my curiosity and set me on a journey to uncover their story,” Neer told JTA in an email. The more she learned, the more she became convinced: “It would be great if we could return them to the Jewish community in Berlin,” she wrote to Koppell and synagogue president Debbie Berkowitz.
“What began as a simple conversation in my office has become a journey of discovery, connection, and restoration,” she said.
Once the Berlin community said yes, the task of packing and transporting the objects began. The large tapestry was wrapped in artisanal paper and shipped.
“We had an AirTag on it, so we watched it sitting in the Cologne airport,” said Koppell. “And then it got moved to the customs building.”
“Then we got word that they wanted €5,000 [$5,567] in [customs] tax. And that if we didn’t pay it, they were sending it back in five days.”
The German Jewish community stepped in and used its tax-exempt status to get the package released, she said, adding that she carried the wimple in her hand luggage.
“We have come to remember, to learn and to return something that has traveled a very long road,” she told the Berlin Jewish community on Oct. 22. “This time, they are going home.”
The post Jewish treasures stolen by Nazis 88 years ago come home, thanks to an Arizona synagogue appeared first on The Forward.

