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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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A war-weary Jerusalem marks Purim one day after the rest of the world, a tradition born in what is now Iran
(JTA) — JERUSALEM — As the sun rose over Jerusalem on Wednesday morning, sirens rang out, signaling yet another incoming missile attack from Iran.
This time, it coincided with the morning of Shushan Purim, as thousands of Israelis gathered — despite a prohibition on public gatherings — to read the Megillah and fulfill the mitzvah of hosting a reading after sunrise on the day of Purim.
Purim in Jerusalem, known as Shushan Purim, takes place a day later than in the rest of the world due to its status as a walled city during the time of the holiday’s story, when the Jews in Shushan, also a walled city located in what is now Susa, Iran, fought for their survival a day longer than Jews elsewhere in the kingdom.
Emergency regulations imposed by Home Front Command ban large gatherings, even in shelters, but Israelis have eschewed the restrictions to continue their celebrations. Top rabbis in Israel encouraged Israelis to follow government guidelines but opined that Zoom readings do not fulfill the requirement under Jewish law to hear the Megillah read in a prayer quorum. On Tuesday, Israelis across the country celebrated Purim in bomb shelters and underground parking garages, many of which are rated to withstand bombs dropped from above.
Just a few hours after the air raid alert ended on Wednesday, Jerusalemites could be seen wandering the streets, some intoxicated and others wearing costumes — or both — to celebrate the public holiday.
Two yeshiva students from New Jersey said, while waiting to catch a light rail train into the city, that they “were not worried at all about the missiles. We check our phones and go to the shelter.”
In the haredi neighborhood of Mea Shearim, life continued largely as normal. Children wandered the streets wearing costumes, and families walked into synagogues for Shacharit services, with prayers echoing through the streets.
In more secular neighborhoods, friends gathered to drink and celebrate the holiday, with some describing a “waiting game” to get their drinking in before another missile is launched and they have to head back to the shelter.
An ultra-Orthodox man celebrates in the streets of Mea Shearim, holding wine in one hand and showing a thumbs up with the other. The official commandment from the Torah is to drink until one cannot tell the difference between “cursed is Haman” and “blessed is Mordecai.”
Amber, Maya and Vicky kept their family shop open on Jaffa Street despite the threat of missiles. You Need Coffee has been open at its current location since 2011, and Maya described how “during the last war our business took a really big hit, and it’s something we expected this time, but the community keeps showing up.”
Vicky added, “They need their coffee, and we know our customers, so there’s a sense of we’re all in this together. Plus, we have a shelter in the basement, so it’s safer here than anywhere else.”
This is the second full-scale war with Iran in the last nine months, but all of the workers in the shop said they were willing yet again to deal with the consequences for the “freedom of the Iranian people.”
A family wearing matching costumes waits to catch the light rail into the Jerusalem city center. Public transportation in Israel is operating at limited capacity due to the war. The light rail had been closed since the war’s start but reopened on Wednesday.
A child who lives in Beit Yisrael, a haredi neighborhood in central Jerusalem, poses for a photo to show off his IDF soldier costume.
Children walk down the streets of Mea Shearim with their parents as they shop for goodies to celebrate the holiday. Pashkevils, or public announcements, cover the walls and communicate rabbinical rulings and other public information.
A Beit Yisrael family poses for a photo showing off their Purim costumes.
A man wearing a bunny costume walks in the streets of Mea Shearim, where not everyone was in costume for the holiday. Still, Yiddish techno music could be heard echoing off the brick walls of the neighborhood from the parties taking place there.
On Etz Hayim Street, just outside the Jerusalem shuk, a young Israeli poses to show off his costume — one half Israeli soldier, the other half sporting a suit.
One of the commandments for the Purim holiday is to give tzedakah, or charity to the poor — matanot la’evyonim — which requires giving to at least two people in need on the holiday. A young boy waits on the street, asking passersby for donations.
The post A war-weary Jerusalem marks Purim one day after the rest of the world, a tradition born in what is now Iran appeared first on The Forward.
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Faith heals the Deepest Wounds, Soothes the Greatest Woes
Across centuries, the Jewish people have experienced collective trauma, from the ancient exiles to modern-day tragedies. Despite these painful occurrences, Jewish tradition is a real treasure trove of healing through religious practices and teachings of the Torah. The Torah shows people how to process and move beyond suffering, and how the Bible can be a source of resilience and hope, even when all seems lost.
One of the greatest Jewish principles of practice is the practice of remembrance. The Torah calls the Jewish people to recall past suffering, not to dwell in sorrow, but in order to take the moment to derive lessons and strength from their adversity. This is reflected in such rituals as Passover, which celebrates the Exodus from Egypt and the liberation of the Jewish people from slavery. Likewise, Tisha B’Av is a day of remembrance for the destruction of the First and Second Temples. These rituals are not reminders of sorrow but tools necessary for transmitting the lessons of history to future generations. Through the practice of remembrance, Jewish communities are reminded time and again of the strength they have shown over the ages and the necessity to cultivate hope for the future.
Aside from the remembering process, the Torah also provides organized practices designed to assist an individual in coping with loss and suffering. The mourning practices, like Shiva, the seven-day mourning period, and Yahrzeit, the yearly observance of a loved one’s death, are a supportive mechanism whereby both the individual and society can cope with their loss. The practices are social in nature, reinforcing the idea that healing is as much an individual process as it is a social one. The social aspect of the practices creates solidarity and provides mutual support so that everyone mourns together.
Prayer and fasting are of profound significance in the Jewish healing environment. Yom Kippur and Tisha B’Av are such special days for soul-searching, repentance, and spiritual rebirth. On such days, the individual and collective seek forgiveness, atonement, and healing. These are spiritual exercises aimed at cleansing the soul and reconciling with God, an indication of the faith that, irrespective of the intensity of the agony, a path to spiritual healing always exists.
Community lies at the core of healing trauma within Jewish life. At the center of healing is the idea of Klal Yisrael—the Jewish peoplehood. In times of adversity, Jewish communities unite through acts of interdependence, prayer, and shared ritual. The communal care creates a basis of resilience, reminding individuals that they are not isolated in their suffering. In fact, the community’s strength can become a healing force, repairing the damage of trauma.
Chaya Lerner’s book, Torah of Trauma, explores the spiritual and psychological aspects of healing in the Torah. In her book, Chaya addresses how scriptural lessons can guide individuals and communities through healing from trauma and transforming it into what makes them stronger. Chaya utilizes ancient Jewish sources and modern therapy methods to explain that the Torah offers healing tools. Chaya’s work emphasizes that healing from trauma is not merely an understanding of the past but also the transformation of that understanding into a path forward. The book explores how Jewish heritage offers hope, healing, and a way to heal the spirit after suffering.
In an age where trauma manifests in so many different disguises, affecting so many individuals and communities, the Jewish approach to healing with the Torah is a sage one. Chaya Lerner’s Torah of Trauma is a guide for those willing to discover how scripture can heal emotional and spiritual hurts. By immersion in the Torah, remembering past struggles, and participating in communal rituals, the Jewish faith traces a path to resilience, hope, and spiritual rebirth. Through these sacred rituals, individuals and communities can transform their pain into power, emerging from trauma not just as a whole but more resilient than ever before.
Essentially, Jewish heritage teaches the realization that collective trauma does not characterize the people, but rather completes them. By accepting the teachings of the Torah, individuals and communities can heal, not only for themselves, but for society as a whole as well. The teachings given within the Torah are an eternal reminder of redemption, a reminder that there is always space for renewal and development, even in the darkest of sufferings.
The post Faith heals the Deepest Wounds, Soothes the Greatest Woes appeared first on The Forward.
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Poland returns 91 Jewish objects to Greece, decades after they were stolen by the Nazis
(JTA) — A trove of sacred Jewish objects from Greece that was stolen by the Nazis and displaced for decades in Poland is finally heading back home.
Poland returned 91 religious and ceremonial artifacts to the Greek government at a ceremony in Warsaw on Wednesday. Among them were Torah scrolls, a Torah mantle and silver finials that adorned a scroll’s wooden rollers — fragments of a rich Greek Jewish heritage that was nearly wiped out.
This marks the first time Poland has repatriated cultural property held under its care that was illegally taken from another country.
The Nazis stole the objects from synagogues in Thessaloniki, a port city once known as the “Jerusalem of the Balkans.” Jews made up half of Thessaloniki’s residents in 1919. Some 59,000 Greek Jews, over 83% of the country’s Jewish population, were killed in the Holocaust.
These items were seized by the Einsatzstab Reichsleiter Rosenberg, a Nazi agency dedicated to looting Jewish valuables, as it plundered homes, synagogues, cemeteries and cultural institutions across Greece in 1941. The objects were transferred to Nazi depots in southwestern Poland and rediscovered at a castle in Bożków after the war. In 1951, the Polish Ministry of Culture moved them to the Jewish Historical Institute in Warsaw, where they remained until now.
This return follows years of advocacy and provenance research. The Greek government formally requested the collection’s restitution in 2024, and the World Jewish Restitution Organization coordinated with Greek and Polish authorities to facilitate it. Now, the objects are headed to the Jewish Museum of Greece in Athens.
About 5,000 Jews live in Greece today.
Poland is the only member of the European Union with no comprehensive legislation to address the restitution of property seized by the Nazis and later nationalized by the communist regime. Since the country became a democracy in 1989, several bills have been proposed to return private property to Holocaust survivors and their descendants, but none became law.
In 2021, Poland passed a law that prevented people who sought to claim property from challenging administrative decisions more than 30 years old. This time limit made it virtually impossible for former owners, including Holocaust survivors and their descendants, to recover properties that were appropriated during the communist era.
In a statement, WRJO president Gideon Taylor and COO Mark Weitzman said the return of the Greek Jewish collection represented a milestone in international cooperation for Holocaust-era restitution.
“While Poland has broader restitution issues to address, we hope this historic act marks the beginning of a consistent, systematic approach to historical justice,” they said.
The post Poland returns 91 Jewish objects to Greece, decades after they were stolen by the Nazis appeared first on The Forward.