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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.
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Netherlands Boosts Security Funding for Jewish Institutions Amid Surge in Antisemitic Attacks
Police outside a Jewish school following an explosion that caused minor damages, in Amsterdam, Netherlands, March 14, 2026. Photo: REUTERS/Piroschka van de Wouw
The Netherlands is significantly boosting security funding for Jewish communities amid a relentless surge of antisemitic incidents, as synagogues, schools, and cultural institutions across the country face escalating threats and authorities move to reinforce protection in response to growing alarm.
During a parliamentary session on Tuesday, Dutch Justice and Security Minister David van Weel announced an additional €700,000 in the 2026 security budget to safeguard Jewish buildings and institutions nationwide, raising total annual funding to €2 million in response to a sustained wave of antisemitic incidents.
Van Weel explained these funds will support security at synagogues, Jewish schools, cultural institutions, and public events, noting that the existing €1.3 million allocation had already been exhausted in 2025, leaving dozens of applications unfunded, with further demand expected this year.
“The additional funding is intended to strengthen protection for the Jewish community and reinforce its sense of security,” the Dutch official said.
Het veiligheidsfonds voor Joodse scholen, instellingen en evenementen verhoog ik met €700.000 naar €2 miljoen per jaar.
Hiermee kunnen Joodse instellingen nog beter worden beschermd en hoop ik het veiligheidsgevoel van de Joodse gemeenschap in Nederland te versterken. pic.twitter.com/FhGnoE8eQl
— David van Weel (@ministerjenv) April 22, 2026
Van Weel’s announcement came in the wake of a series of antisemitic attacks last month, including small explosions at a synagogue in Rotterdam, a second blast two days later at a Jewish school in Amsterdam, and a third near a Zuidas office building housing the Bank of New York Mellon.
During Tuesday’s session, lawmakers also reviewed proposals from an antisemitism taskforce aimed at strengthening protections for Jewish students and staff in higher education, alongside broader measures to counter rising hate incidents on campuses.
Mirjam Bikker, leader of the ChristenUnie, a Dutch Protestant political party, called for the government to fully cover security costs at Jewish institutions, describing the current system — under which synagogues and schools are expected to fund their own protection — as “a fundamental reversal of responsibility.”
Like most countries across Europe and the broader Western world, the Netherlands has seen a shocking rise in antisemitic incidents over the last two years, in the wake of the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023.
According to newly released figures, Dutch authorities reported antisemitism remained at alarmingly high levels across the country last year, with 867 registered cases in 2025 — virtually unchanged from the 880 incidents recorded the previous year.
Even though Jews make up less than 0.3 percent of the Dutch population, anti-Jewish hate crimes account for 26 percent of all discrimination cases.
Eddo Verdoner, the Dutch national coordinator for combating antisemitism (NCAB), said the data reflects a worrying normalization of antisemitic incidents.
“We have been recording hundreds of antisemitic incidents each year for years now. What I fear is that we are slowly getting used to figures that are unacceptable, that hatred is becoming the new normal,” Verdoner said in a statement.
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AIPAC Slightly More Popular Than Democratic Party, Poll Finds
Crews prepare the stage at the annual AIPAC Policy Conference in Washington, DC, March 6, 2018. Photo: Reuters / Brian Snyder
A new survey reveals that the American Israel Public Affairs Committee (AIPAC), the premier pro-Israel lobbying group in the US, may be viewed more favorably than the Democratic Party itself amid ongoing debate over whether liberal candidates should continue engaging with the organization.
According to an April 2026 national survey conducted by Echelon Insights, AIPAC posts a net favorable rating that indicates the group is slightly more favorable than the Democratic Party. Per the poll, 18 percent of respondents view the organization positively and 25 percent view the organization negatively. Meanwhile, 27 percent have no opinion of the lobbying group.
Conversely, 42 percent of Americans have a positive opinion of the Democratic Party, according to the poll, and 52 percent have a negative opinion.
AIPAC and the Democratic Party therefore have net favorable ratings among the public of -7 and -10, respectively.
While Democrats remain one of the two dominant political coalitions in the United States, their favorability has been weighed down in part by intensifying internal divisions, including over US policy toward Israel. The liberal wing of the party has grown increasingly hostile toward the Jewish state amid the war in Gaza, with far-left members pushing the party to establish an anti-Israel posture and falsely accusing the Jewish state of committing “genocide” against Palestinians.
AIPAC, by contrast, occupies a different space in the public mind. As a single-issue advocacy organization focused on strengthening US–Israel relations, it does not carry the same ideological baggage or breadth of policy responsibility as a national party.
However, as the war in Gaza deteriorated the popularity of Israel within the Democratic base, AIPAC became the target of scrutiny by party activists seeking to isolate the Jewish state. In primary competitions across the country, Democratic contenders have scrambled to distance themselves from AIPAC, oftentimes publicly vowing not to accept any funding or assistance from the group.
Yet the polling from Echelon Insights suggests that this elite-level conflict has not translated into widespread public backlash against the organization itself, with 57 of respondents saying they either never heard of the group or have no opinion of it.
Indeed, although AIPAC has become unpopular, polling suggests that the organization has low salience with the general public. Few voters have strong opinions about it compared to other issues, suggesting that outsized attention has been given by progressive politicians and activists to the lobbying group.
Little evidence indicates that affiliation with AIPAC is an electoral liability within Democratic primaries. In March, several anti-Israel candidates lost to AIPAC-backed opponents, including Cook County Commissioner Donna Miller successfully winning the Illinois 2nd Congressional District race and former Rep. Melissa Bean winning the contest for the Illinois 8th Congressional District.
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Israel Estimates US Blockade of Strait of Hormuz to Slash Iran Oil Exports by 80%
A vessel at the Strait of Hormuz, off the coast of Oman’s Musandam province, April 12, 2026. Photo: REUTERS
As Iran struggles to rebuild damaged military and energy infrastructure amid the current ceasefire, Israel estimates that a US naval blockade of Iranian ports will slash the regime’s oil exports by roughly 80 percent, nearly severing one of Tehran’s last remaining economic lifelines.
According to Israeli security assessments, the US closure of the Strait of Hormuz — a critical global energy chokepoint through which about one-fifth of the world’s oil supply passes — triggered an immediate and dramatic collapse in Iran’s revenue that will lead to a loss of more than $1 billion a month, Walla reported.
US President Donald Trump has claimed the regime is losing about $500 million a day as a result of the blockade. Some experts, such as Miad Maleki of the Foundation for Defense of Democracies think tank, have put the figure at roughly $450 million lost in daily economic activity for Iran.
Regardless of the specific amount, given that energy exports remain the backbone of the regime’s economy, what is left of oil revenues now amounts to little more than a fragile lifeline keeping Tehran temporarily afloat as financial pressure continues to mount.
Even with the naval blockade in place, Iranian authorities have managed to maintain a limited flow of exports by transporting oil from inland production fields to the Gulf of Oman through the multi-billion-dollar Gura–Jask pipeline, an overland route that moves roughly 300,000 barrels per day to global markets.
Israeli officials assess that the blockade and resultant shortfall for Tehran could set off a chain reaction of disruptions, including the shutdown of entire segments of the oil industry.
They also point to severe damage across Iran’s petrochemical and defense sectors, which together have cost an estimated 100,000 jobs at multiple levels, arguing that the cumulative impact is pushing the Iranian regime into a corner.
After repeated efforts to bring Iran back to the negotiating table, the Trump administration escalated pressure on Tehran earlier this month by imposing a naval blockade on vessels entering or leaving Iranian ports through the Strait of Hormuz, aiming to force a deal that would bring an end to the conflict.
Since the start of the war earlier this year, Iran has used control over the Strait of Hormuz as a major source of leverage, militarizing the waterway and sharply restricting maritime traffic through one of the world’s most critical shipping corridors.
Iran has also signaled it intends to maintain control over the strategic shipping lane even after the war ends, potentially imposing transit fees framed as compensation for wartime damage.
After Trump extended the ceasefire indefinitely on Tuesday to allow for renewed diplomatic efforts, it now remains to be seen whether Iran will agree to return to negotiations, as questions persist over whether both sides can bridge widening differences to restart talks.
According to The New York Times, US officials previously proposed a 20-year halt to Iranian uranium enrichment, which Iranian negotiators countered with a five-year suspension that Washington rejected. The White House has also reportedly insisted that Iran dismantle major enrichment sites and surrender more than 400 kilograms of highly enriched uranium.
Even as the regime faces one of its most severe economic crises in decades, Iranian authorities have continued pouring billions into rebuilding military and nuclear infrastructure and supporting regional proxy forces, prioritizing strategic confrontation with Israel over urgent domestic needs such as the country’s worsening water crisis.
The regime has spent billions of dollars supporting its terrorist proxies across the Middle East and operations abroad, with the Quds Force, Iran’s elite paramilitary unit, funneling funds to the Lebanese group Hezbollah, in defiance of international sanctions.
According to the US Treasury Department, Iran provided more than $100 million per month to Hezbollah in 2025, with $1 billion representing only a portion of Tehran’s overall support for the terrorist group, using a “shadow financial system” to transfer funds to Lebanon.