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
Hamas Doubles Down on Refusal to Disarm as Trump Pushes Phase Two of Gaza Peace Plan
Palestinian Hamas terrorists stand guard at a site as Hamas says it continues to search for the bodies of deceased hostages, in Beit Lahiya in the northern Gaza Strip, Dec. 3, 2025. Photo: REUTERS/Stringer
As the United States and its allies prepare to roll out phase two of President Donald Trump’s Gaza peace plan, Hamas has doubled down on its refusal to disarm, clouding hopes for a breakthrough.
In an interview with the Qatari media network Al Jazeera on Wednesday, senior Hamas official Musa Abu Marzouk said the Palestinian terrorist group — which ruled Gaza before its war with Israel and still controls nearly half the enclave’s territory — never agreed to lay down its weapons under the ceasefire agreement.
“Not for a single moment did we talk about surrender the weapons, or any formula about destroying, surrendering, or disarmament,” the terrorist leader said, echoing repeated statements by Hamas officials saying they have no intention of disarming.
Abu Marzouk also reaffirmed that Hamas has moved to “restore order” in parts of the Gaza Strip from which Israeli forces withdrew as part of the ceasefire deal.
Currently, the Israeli military controls 53 percent of Gaza’s territory, and Hamas has moved to reestablish control over the rest. However, the vast majority of the Gazan population is located in the Hamas-controlled half, where the Islamist group has been imposing a brutal crackdown.
Disarmament “was never even presented to us,” Abu Marzouk told Al Jazeera.
“After a battle of this magnitude … and with the inability of Israel, America, and the West to disarm or destroy Hamas’s weapons, did they think they could obtain it through talks?” he continued.
The comments came one day before Trump said that Hamas would in fact give up its weapons.
“A lot of people said they’ll never disarm. It looks like they’re going to disarm,” Trump told a cabinet meeting on Thursday.
The US president also asked his special envoy, Steve Witkoff, for an update on the situation.
“We’ve got the terrorists out of there and they’re going to demilitarize. They will because they have no choice,” Witkoff said. “They’re going to give it up. They’re going to give up the AK-47s.”
Last week, Trump warned that Hamas “will be blown away very quickly” if it refuses to disarm and cooperate with the second phase of his administration’s 20-point peace plan.
According to multiple media reports, Washington is expected to announce a deadline in the coming days for the terrorist group to lay down its weapons, in an effort to set the terms of the disarmament process.
On Monday, Israeli Prime Minister Benjamin Netanyahu insisted that the next phase of the ceasefire deal would focus on disarming Hamas and demilitarizing the enclave, rather than on reconstruction.
“We are at the threshold of the next phase: Disarming Hamas and demilitarizing the Gaza Strip,” the Israeli leader told parliament, shortly after he officially announced that the remains of the last hostage had been recovered.
“The next phase is not reconstruction,” he continued. “We have an interest in advancing this phase, not delaying it. The sooner we do so, the sooner we will complete the objectives of the war.”
Under phase one of Trump’s peace plan, a ceasefire took effect and Hamas was required to release all remaining hostages, both living and deceased, who were kidnapped by Hamas-led Palestinian terrorists during the group’s invasion of and massacre across southern Israel on Oct. 7, 2023.
The body of the final hostage, Israeli police officer Ran Gvili, was returned on Monday, and he was buried on Wednesday.
In exchange for Hamas’s releasing nearly all the hostages, Israel freed thousands of Palestinian prisoners, including many serving life sentences for terrorism, and partially withdrew its military forces in Gaza to a newly drawn “Yellow Line,” roughly dividing the enclave between east and west.
The second stage of the US-backed peace plan is supposed to establish an interim administrative authority, a so-called “technocratic government,” deploy an International Stabilization Force (ISF) to oversee security in Gaza, and begin the demilitarization of Hamas.
In an effort to advance his regional peace initiative, Trump launched the so-called Board of Peace last week, inviting several countries — including Turkey — despite Israel’s opposition to its participation.
Israeli officials have repeatedly rejected any Turkish role in Gaza’s postwar reconstruction, warning that Ankara’s push to expand its regional influence could bolster Hamas’s terrorist infrastructure, as Turkey has been a longtime backer of the Islamist group.
Under Trump’s Gaza peace plan, the newly created Board of Peace will oversee the interim technocratic Palestinian government in the enclave, supported for at least two years by the ISF.
The ISF — comprising troops from multiple participating countries — will oversee the ceasefire deal between Israel and Hamas, train local security forces, secure Gaza’s borders with Israel and Egypt, and protect civilians while maintaining humanitarian corridors.
In addition, the ISF would seemingly be expected to take on the responsibility of disarming Hamas. Even though several countries — including Hamas backers Qatar and Turkey — have expressed interest in joining the international peacekeeping force, no final agreement has been reached.
Further Israeli military withdrawals in Gaza are tied to Hamas’s disarmament.
During his Wednesday interview, Abu Marzouk declared that “nobody can enter Gaza without understandings with Hamas,” emphasizing that the group will not give up control of the enclave.
“If Hamas doesn’t agree to the administrative committee, it cannot enter the Gaza Strip,” he told Al Jazeera, asserting that the group has the final say over who sits on it.
Trump’s peace plan, which has been endorsed by the United Nations, calls on Hamas to relinquish any governing role in Gaza.
Despite Hamas’s comments, the peace plan is moving forward with a transitional technocratic Palestinian administration in Gaza. The newly established 15-member body is led by Ali Shaath, a former deputy minister in the Palestinian Authority.
According to media reports, Hamas is looking to position around 10,000 members of its police force within the new Palestinian administration for Gaza.
Uncategorized
Forverts podcast, episode three: The cemetery
דער פֿאָרווערטס האָט שוין אַרויסגעלאָזט דעם דריטן קאַפּיטל פֿונעם ייִדישן פּאָדקאַסט, Yiddish With Rukhl. דאָס מאָל איז די טעמע „דער בית־עולם“. די פֿאַרגאַנגענע וואָך איז זי געווען „ליבע“. צו הערן ביידע קאַפּיטלען גיט אַ קוועטש דאָ.
אין דעם איצטיקן קאַפּיטל לייענט שׂרה־רחל שעכטער פֿאָר צוויי אַרטיקלען, „אַ טראַדיציאָנעלער מינהג געפֿירט פֿון פֿרויען: פֿעלדמעסטן און קנייטלעך לייגן“ פֿון אַנאַבעל כּהן, און „דאָס אַרײַנלייגן אין דר׳ערד: די פֿאַרשידענע ווערטער און אויסדרוקן פֿאַרן וואָרט ׳בית־עולם׳“ פֿון הערשל גלעזער.
אויב איר ווילט אויך לייענען דעם געדרוקטן טעקסט פֿון די אַרטיקלען, גיט אַ קוועטש דאָ און קוקט אונטן בײַם סוף פֿון דער זײַט.
אין דעם וואָכיקן פּאָדקאַסט לייענט די פֿאָרווערטס־רעדאַקטאָרין שׂרה־רחל שעכטער פֿאָר געקליבענע אַרטיקלען וואָס דער פֿאָרווערטס האָט געדרוקט במשך פֿון די יאָרן. דערווײַל איז דער פּאָדקאַסט בלויז אַ פּראָבע פֿון פֿינעף קאַפּיטלען. אויב ס׳וועט ווײַטער וואַקסן דער אינטערעס צו אים, וועט ער ווערן אַ געוויינטלעכער טייל פֿונעם פֿאָרווערטס.
טאָמער האָט איר קאָמענטאַרן אָדער פֿאָרלייגן, שרײַבט אַ בריוול דעם פֿאָרווערטס: schaechter@forward.com
The post Forverts podcast, episode three: The cemetery appeared first on The Forward.
Uncategorized
Police Arrest Driver for Ramming Car Multiple Times Into Chabad Headquarters in Brooklyn
Police control the scene after a car repeatedly slammed into Chabad World Headquarters in Crown Heights section of Brooklyn. The driver was taken into custody. Photo: ZUMA Press Wire via Reuters Connect
Police have arrested a man for repeatedly driving his vehicle into the Chabad Lubavitch World Headquarters in Brooklyn, New York, on Wednesday night, an incident which is now being investigated by authorities as a hate crime.
The driver in custody, who has not been identified, struck his 2012 Honda Accord once into the back door of the 770 Eastern Parkway building in Crown Heights before reversing the car and ramming the same door multiple times, as seen in footage that was shared on social media.
A car just drove into the side doors of 770 at Chabad Headquarters. Baruch Hashem, there are no injuries. Witnesses report the driver yelled for people to move as he drove in. It appears intentional. The synagogue has been evacuated as a precaution.
Please stay away from the… pic.twitter.com/ljsoZ0sIE7
— Yaacov Behrman (@ChabadLubavitch) January 29, 2026
The case is being investigated as a hate crime by the New York City Police Department (NYPD) Hate Crimes Task Force, Commissioner Jessica Tisch said at a press conference on Wednesday night. As a cautionary measure, the NYPD have increased security around houses of worship across the city’s five boroughs.
The vehicle was found mounted on the sidewalk at the scene. No injuries were reported and no explosives were found in the vehicle, according to Tisch. The car had a New Jersey license plate.
Yaacov Behrman, head of public relations at the Chabad Lubavitch World Headquarters, said witnesses heard the driver yell for people to move out of the way as he intentionally rammed his car into the building. The man previously trespassed at a Chabad house in New Jersey and was removed from the scene by police officers, according to Behrman.
New York City Mayor Zohran Mamdani visited the crash site on Wednesday and called the collision “deeply alarming” and a “horrifying incident.”
“Any threat to a Jewish institution or place of worship must be taken seriously,” he added. “Antisemitism has no place in our city, and violence or intimidation against Jewish New Yorkers is unacceptable.”
Wednesday marked the 75th anniversary of Rabbi Menachem Mendel Schneerson being chosen as the leader of the Chabad-Lubavitch movement, an influential force in Orthodox Judaism that operates around the world.
The iconic 770 building in Crown Heights became the world headquarters of the Hassidic movement in 1940.
The ramming incident occurred amid an alarming surge in antisemitic hate crimes across New York City.
Jews were targeted in the majority (54 percent) of all hate crimes perpetrated in New York City in 2024, according to data issued by the NYPD. A recent report released last month by the Mayor’s Office to Combat Antisemitism, which was established in May, noted that figure rose to a staggering 62 percent in the first quarter of 2025, despite Jewish New Yorkers comprising just 11 percent of the city’s population.