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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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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.
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Trump Administration Appeals Harvard Funding Ruling
United States President Donald J Trump in White House in Washington, DC, USA, on Thursday, December 18, 2025. Photo: Aaron Schwartz via Reuters Connect.
US President Donald Trump filed an appeal of a ruling by an Obama-appointed federal judge which restored $2.7 billion in public grants he had impounded from Harvard University over its alleged failure to address campus antisemitism along with other faults.
The move aims to put Harvard on the back foot, as his efforts to penalize the institution have run into repeated legal roadblocks despite that virtually every other elite institution he has targeted for reform — such as Columbia University, Brown University, and Northwestern University — decided that settling with Trump is preferable to fighting the administration.
As previously reported, by The Algemeiner, US federal judge Allison Burroughs ruled in September that Trump acted unconstitutionally when he confiscated about $2.2 billion in Harvard University’s research grants, charging that he had used antisemitism as a smokescreen for a targeted, ideologically motivated assault on this country’s premier universities.” Burroughs went on to argue that the federal government violated Harvard’s free speech rights under the US Constitution’s First Amendment and that it was the job of courts to “ensure that important research is not improperly subjected to arbitrary and procedurally infirm grant terminations.”
The ruling conferred a major victory to Harvard, as it had been asked to grant to a wishlist of policy reforms that Republican lawmakers said would make higher education more meritocratic and less welcoming to anti-Zionists and far-left extremists. Contained in a letter the administration sent to Harvard president Alan Garber — who subsequently released it to the public — the policies called for “viewpoint diversity in hiring and admissions,” the “discontinuation of DEI initiatives,” and “reducing forms of governance bloat.” They also implored Harvard to begin “reforming programs with egregious records of antisemitism” and to recalibrate its approach to “student discipline.”
Harvard refused the president his wishes even after losing the money and took the issue to federal court. Meanwhile, it built a financial war chest, leveraging its GDP-sized assets to issue over $1 billion dollars in new debt and drawing on its substantial cash reserves to keep the lights on. It fought on even as it registered its largest budget deficit, $113 million, since the Covid-19 pandemic, according to The Harvard Crimson.
On Friday, Harvard told multiple outlets it is “confident that the Court of Appeals will affirm the district court’s opinion.”
The Harvard Corporation also said on Tuesday that the university will retain Alan Garber as president for an “indefinite” period. Garber was appointed in Jan. 2024 amid antisemitic, pro-Hamas demonstrations on campus and Harvard’s being pilloried over revelations that Garber’s predecessor, Harvard’s first Black president, Claudine Gay, is a serial plagiarist.
Under Garber’s leadership, Harvard has contested a slew of lawsuits accusing school officials of standing down while anti-Israel activists abused Jewish students. It settled some of the cases and prevailed in others. At the same time, Harvard agreed to incorporate into its policies a definition of antisemitism supported by most of the Jewish community, established new rules governing campus protests, and announced new partnerships with Israeli academic institutions. By all accounts, it is in no rush to settle its dispute with the Trump administration.
“Alan’s humble, resilient, and effective leadership has shown itself to be not just a vital source of calm in turbulent times, but also a generative force for sustaining Harvard’s commitment to academic excellence and to free inquiry and expression,” Harvard Corporation senior fellow Penny Pritzker said in a statement. “Alan has not only stabilized the university but brought us together in support of our shared mission.”
Follow Dion J. Pierre @DionJPierre.
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After Bondi, What Hanukkah Really Means This Year
Arizona State University Chabad and Downtown Tempe hold Menorah lighting ceremony on Dec. 7, 2023. Photo: Alexandra Buxbaum vis Reuters Connect
Before Hanukkah (and before the Bondi Beach massacre), my son asked me what the holiday is really about. Not the gifts, not the latkes, not even the oil that famously lasted eight days. “But what actually happened?” he pressed. He has been learning quite a bit in Hebrew school and pushed me: “How did a tiny group win when everyone thought they couldn’t?”
It’s a question that lands differently this year. I told him the truth: Hanukkah is the story of a small, outmatched community refusing to accept that the world’s hatred and power alignments would dictate their future.
The Maccabees were not the strongest or the most numerous. They weren’t protected by empires or alliances. They persevered because they believed their identity mattered, their way of life mattered, and their freedom to live as Jews mattered. And that conviction — rooted in faith, courage, and stubborn hope — carried them through the impossible.
He listened, nodded, and then asked the question so many Jewish parents have heard this year: “Is it like that now?”
I wish the analogy didn’t fit. My son is growing up in a moment when open antisemitism spreads faster than any ancient decree; when mobs surround synagogues, when Jewish students are told they don’t belong, when the Internet can turn ignorance into global hate in seconds. He sees the hate filled graffiti around our neighborhood. He hears others in the city talk about Israel with a hostility that has nothing to do with policy and everything to do with identity. He watches the news and senses the unease in our home when we talk about safety.
And so the Maccabean story is not abstract. It is a mirror.
For years, many of us lived Jewishly in a way that was proud but cautious — visible but not too visible, present but politely understated.
So many American Jews assumed America would always be different, that the ancient need for Jewish vigilance was something our generation might finally outgrow. But my son’s question made clear that those days are gone.
The world has changed, and our children deserve a model of Jewish life rooted not in caution, but in confidence.
The miracle of Hanukkah is not just that oil burned longer than nature allowed — it’s that Jews did. That our people insisted on lighting a flame even when the world around them demanded surrender. They restored the Temple not because victory was assured, but because Jewish life itself was worth defending whether or not anyone else agreed.
This year, the miracle feels less like ancient mythology and more like a living assignment. It reminds us that Jewish endurance has never depended on winning the popularity contest of nations. The Jewish people have always survived — and often thrived — by holding firm in who we are even when the world misunderstands, resents, or maligns us.
That lesson came into sharper focus when I showed my son the famous photograph in Kiel, Germany, in 1931 of a menorah in the window facing the Nazi flag across the street — one family defiantly insisting on light when every force around them demanded fear. He stared at it quietly. Then he looked out our own window, the same window where just weeks ago we saw protesters screaming about Jewish power, Zionism, and Israel with a rage meant to intimidate. They called for Israel’s destruction, the death of his family members living in Israel, and the murder of Jews in America for simply existing. It didn’t matter that this was New York, not 1930s Germany; the message was unmistakable.
So this year we have placed our menorah in the window — not tucked away, not dimmed, not hesitating. It is our declaration of resilience, a statement of presence, and a call to the world that Jewish life will not retreat. We will not cower. We will not waver in our right to be here, to belong, to live openly as Jews in the United States or anywhere else. We are resolute. We are defiant. And we are proud.
Some insist that Jews and Jewish institutions must bend — moderate our commitments, soften our existence, or “balance” our right to safety with demands that erase the legitimacy of Jewish peoplehood itself.
Hanukkah teaches the opposite: Jews do not need to contort ourselves to appease ideologies that deny our very right to endure. We are allowed to exist openly. We are allowed to be strong. We are allowed to defend ourselves and our communities. We are allowed to assert that our story, our dignity, and our continuity matter. We are allowed to be proud of our faith, our history, and our place in the world.
And America, if it means what it says about pluralism, has obligations too. A free society does not ask minorities to hide the parts of themselves others find inconvenient. A healthy democracy protects its citizens especially when they are under threat — not only when they are easy to celebrate. Jewish belonging is not conditional. It is anchored in centuries of contribution to American civic, cultural, scientific, intellectual, and communal life. Our presence strengthens this nation; our resilience is not a provocation but a fulfillment of America’s promise.
When I look at my son, I see why this clarity matters. He deserves a Jewish life lived without apology or fear. He deserves a community that is strong, grounded, and proud. He deserves to inherit a tradition defined not by defensiveness, but by purpose.
So yes, I told him, the story of a small group doing the impossible resonates now. Not because we are powerless, but because the pressures to retreat, disappear, or doubt ourselves have returned with force. The right response — now as then — is illumination; bringing light into the world
One candle does not drive away all darkness. It simply refuses to let the darkness win uncontested. That is what we are called to do right now: to insist on our visibility, to teach our children pride rather than dread, to speak plainly even when others prefer we whisper, and to bring light and enlightenment to a world that too often chooses shadows.
This year, as my son places our menorah in the window, he will know that he is part of that unbroken chain; that he, too, inherits the responsibility to kindle light in an age that would rather see it dimmed. And that the enduring miracle of our people is not simply that a flame once lasted eight days, but that we are still here, still proud, and still unafraid to light it again.
May that light shine powerfully, proudly, and without fear.
Samuel J. Abrams is a professor of politics at Sarah Lawrence College and a senior fellow at the American Enterprise Institute.
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‘The most Australian name’: Matilda, the youngest victim of the Bondi Beach attack, embodies a nation’s grief
(JTA) — The youngest victim of the Bondi Beach Hanukkah massacre is known by just one name — but it’s all that’s needed to make her a symbol for her fellow Australians.
“I named her Matilda because she was our firstborn in Australia. And I thought that Matilda was the most Australian name that could ever exist,” her father Michael, a Jewish immigrant from Ukraine, said at a vigil earlier in the week. “So just remember – remember her name.”
The poem and song “Waltzing Matilda,” written in 1895, is considered an unofficial anthem in Australia, which has been rocked by the terror attack on Bondi Beach that killed 15 people attending a Hanukkah celebration.
At a vigil on Thursday night at Bondi Pavilion — a public space now transformed into a memorial flooded with flowers and displays of solidarity — hundreds of mourners gathered and sang the song to memorialize Matilda, who at 10 was the youngest among the dead.
Matilda had been filmed shortly before the attack admiring as her father put on tefillin, the phylacteries used in prayer that emissaries of Chabad, the group that organized the Hanukkah celebration, routinely help Jewish men put on to fulfill a religious commandment. She was shot while standing with her mother Valentyna and 6-year-old sister.
Seeking to protect their privacy, the family has asked that their last name not be published in the media. Instead, Matilda has become associated her middle name, Bee.
At the somber memorial, all of the attendees were given stickers with Matilda’s name alongside a smiling bumblebee clutching a menorah, a symbol that has become a quiet emblem of remembrance in the days since her death.
At her funeral on Thursday, held at the Chevra Kadisha Memorial Hall, mourners clutched bee balloons and placed bee posters on the exterior of their cars.
A giant plush bumblebee was placed on Matilda’s small white casket at the funeral, one similar to the many that now adorn the Bondi Pavilion flower memorial alongside illustrations of bumblebees.
On social media, parents and schools around the world have posted children’s illustrations and photos of bees at the request of Matilda’s parents, a tribute that has spread widely as a way of remembering her. On Facebook, Matilda’s father, Michael, has reposted many of the online memorials.
Build a Bear Workshop Australia also announced the production of a limited-edition plush bee in memory of Matilda, with all proceeds going to her family. A GoFundMe page set up by her language teacher has also drawn over $550,000 in donations.
“She loved the outdoors, animals, she went to school, she had friends, everybody loved her,” Rabbi Yehoram Ulman, whose son-in-law, Rabbi Eli Schlanger, was also killed in the attack, said during his eulogy for Matilda. “The tragic, so totally cruel, an unfathomable murder of young Matilda is something that’s painful to all of us as if our own daughter was taken from us.”
Valentyna said at the vigil that until Sunday, she had been happy that her family had moved from Ukraine, which has been at war with Russia since Russia invaded in 2022.
“I came from Ukraine. I brought from Ukraine my oldest son, with him, and I was so happy that he’s not there right now. He’s not fighting for his land, and he’s safe here,” she said as she broke down in sobs. “I couldn’t imagine I would lose my daughter here.”
Chris Minns, the premier of New South Wales, the Australian state that includes Sydney, quoted from “Waltzing Matilda” at Matilda’s funeral.
“She bore the name Matilda to honor this great land, Australia’s heart and spirit forever hand in hand,” said Minns, who wore the bumblebee sticker on his lapel, according to ABC. “Her spirit like a swagman’s will never fade away. She’s waltzing with the angels, where love will always stay.”
The post ‘The most Australian name’: Matilda, the youngest victim of the Bondi Beach attack, embodies a nation’s grief appeared first on The Forward.