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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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Russians Retreat as Al Qaeda-Linked Jihadists, Tuareg Separatists Kill Mali’s Defense Minister, Capture Key Town
A Malian soldier stands in position with his weapon during an attack on Mali’s main military base Kati outside the capital Bamako, Mali, April 25, 2026. Photo: REUTERS/Stringer
The military junta in Mali came under attack this past weekend in multiple locations across the expansive desert nation, resulting in the death of Defense Minister Sadio Camara and the seizure of Kidal, a key town in the African country’s eastern region.
The strikes resulted from an alliance between Jama’at Nusrat al-Islam wal-Muslimin (JNIM,) an Al-Qaeda-linked jihadist group fighting to establish a state governed by strict Islamic Shariah law, and the Azawad Liberation Front (FLA), a Tuareg rebel separatist militia which seeks to form an independent nation in Mali’s northeast.
Local sources told France 24 that the groups had seized control of Kidal, a reported FLA stronghold, on Monday. This victory followed the retreat of Russia’s Africa Corps, the mercenary organization the Malian government had contracted at a monthly rate of $10 million to provide security.
Fox News Digital reported reviewing video of Russian mercenary casualties and Russian vehicles fleeing Kidal. An FLA spokesperson told the Associated Press that Russia’s Africa Corps had withdrawn and that a “white” agreement had been made.
Other locations hit by attacks included Kati, Gao, Sévaré, and Mopti.
JNIM took credit for bombings at Mali’s primary airport in Bamako.’
Meanwhile, JNIM is the suspect of a car bomb planted outside Camara’s home which exploded on Saturday, killing Mali’s top military leader and three other family members.
The attacks tell “every Malian, every regional capital, and every foreign partner that JNIM can operate at will inside the supposedly secure heart of the state,” Justyna Gudzowska, executive director of The Sentry, an investigative and policy group, told Reuters.
Mali’s military junta, which has ruled since August 2020, on Monday announced injuries sustained by two of its other leaders, Gen. Oumar Diarra, who serves as chief of the armed forces’ general staff, and Gen. Modibo Koné, director of the National Security Agency.
Yvan Guichaoua, a Sahel specialist at the German research center BICC, told Reuters that the attacks intended to “decapitate” the government.
A spokesperson for the US State Department said that the United States “strongly condemns” the terrorist attack in Mali.
“We extend our deepest condolences to the victims, their families, and all those affected,” the spokesperson added to Fox News Digital. “We stand with the Malian people and government in the face of this violence. The United States remains committed to supporting efforts to advance peace, stability, and security across Mali and the region.”
A statement from the office of UN Secretary-General Antonio Guterres said he is “deeply concerned by reports of attacks in several locations across Mali. He strongly condemns these acts of violence, expresses solidarity with the Malian people, and stresses the need to protect civilians and civilian infrastructure.”
Ulf Laessing, head of the Sahel program at the Konrad Adenauer Foundation in Germany, told Germany’s DW that the strikes were the biggest he had seen in the country in years.
“Remarkably, there has been a coordination between jihadists and Tuareg rebels, which have nothing in common, but they have a joint enemy,” Laessing said. “They staged together an attack in 2012 and took over northern Mali. Then later they fell out. The jihadists got rid of the Tuaregs. So, it’s remarkable that they made a comeback.”
According to a statement from Russia’s foreign ministry posted to Telegram, 250 militants struck the Bamako Senou International Airport and the military base nearby.
“The Malian Armed Forces repelled the attack and are currently taking further steps to eliminate the militia that may have been, reportedly, trained by Western security agencies,” the foreign ministry said. “Russia is deeply concerned about these developments. This terrorist activity poses a direct threat to the stability of friendly Mali and could have the most serious consequences for the entire region.”
Laessing also spoke to the Associated Press, calling the attack a major blow to Russia.
“The [Russian] mercenaries had no intelligence about the attacks and were unable to protect major cities,” he said. “They have unnecessarily worsened the conflict by not distinguishing between civilians and combatants.”
“The fact that the Malian military intelligence has not been able to detect that these attacks were about to take place is a major failure for them,” Nina Wilen, director for the Africa Program at Egmont Institute for International Relations, told DW, saying the attacks revealed how “strong JNIM has become over the past year.”
She noted that Camara had been a key figure in establishing relations with Russia, making him a symbolic figure to target and send a message opposing the presence of Russian troops.
Islamist activity in the Sahel of Western Africa has risen in recent years, causing analysts to label the region the most lethal place on the planet for terrorist deaths, with JNIM leading the body count.
The trend has caught the attention of Washington, DC.
“Across the Sahel in West Africa and in East Africa, terrorist groups are expanding, embedding, and operating with increasing capability,” US Sen. Ted Cruz (R-TX) said during a hearing last week on terrorism in Africa. “ISIS affiliates and al-Qaeda-linked groups are growing, controlling territory, and exploiting weak governance.”
“In region after region, terrorist groups are outpacing the ability of local governments to respond,” Cruz added. “The failures threaten our interest globally and endanger the American homeland. The threat is rapidly growing and demands attention.”
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US soldier charged for threatening to ‘kill every single Jew’ inside of a synagogue
(JTA) — A soldier stationed at Fort Polk in Louisiana was arrested last week after he told users on the popular messaging platform Discord that he planned to conduct a mass shooting at a synagogue.
Jakob Marcoulier, 22, was arrested last Thursday and charged with transmitting a threat in interstate commerce after the FBI’s National Threat Operations Center received a tip in February that he had made threats toward synagogues, according to the U.S. attorney’s office for the western district of Louisiana.
According to court documents, the FBI obtained audio from Discord in which Marcoulier allegedly said, “After this deployment if the Jews still have reign over our government, I am going to walk into a synagogue with my AK, with a 75-round drum mag, and all of my extra mags, with my level four plates, and my haka helmet that’s three plus, and I am going to kill every single Jew I know inside of that synagogue. And that’s my goal in life.”
During the communications, Marcoulier told the other users, “You guys will never do anything about but I will. I just have to finish this, I have to go back overseas and do what I have to do. And then you’ll see me in the news. I promise you.”
He also allegedly said that he would “kill these motherf—kers in order to make sure the white youth is f—king secured.”
It was not immediately clear when Marcoulier made the comments, but the United States and Israel jointly attacked Iran on Feb. 28 following a buildup of U.S. troops in the Middle East.
The Iran war has put Jewish institutions across the country and the around the world on high alert, with attacks on synagogues including arsons in Europe and a synagogue ramming in suburban Detroit last month.
“Threats against synagogues and Jewish Americans are threats to the religious freedom promised to every single one of us, and this Office and our law enforcement partners are committed to protecting those freedoms,” United States Attorney Zachary A. Keller said in a statement.
The post US soldier charged for threatening to ‘kill every single Jew’ inside of a synagogue appeared first on The Forward.
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J.D. Salinger asked publishers to remove references to his Jewish heritage, newly surfaced letters reveal
(JTA) — Acclaimed author J.D. Salinger asked his publisher to remove references to his Jewish heritage in the book jacket of “The Catcher in the Rye,” newly surfaced letters from 1951 reveal.
The request came in a letter from Salinger, a notoriously private man, and his editor, John Woodburn at publisher Little, Brown and Co. The correspondence, which took place in early 1951, predates the first publication of “The Catcher in the Rye,” Salinger’s hit coming-of-age novel.
“I don’t know that I’d like to have that Jewish-Irish business slapped on the jacket,” Salinger wrote. “Surely if it’s catchy, that is.”
The letter has come to light because Peter Harrington Rare Books, a bookseller based in London, has listed it as part of a package for sale in the New York International Antiquarian Book Fair, which begins on Thursday.
“The Catcher in the Rye,” a contemporary classic following the life of angsty boarding school student Holden Caulfield, is one of the best-selling books of all time.
Caulfield’s character is of Irish heritage, like Salinger’s mother. But Salinger was the son of Sol, a cheese salesman (whose wares might have been kosher) and the grandson of a rabbi on his father’s side. His mother, Marie Jillich, went by Miriam to appease her in-laws who disapproved of the mixed marriage. He learned his mother’s real name only around the time of his bar mitzvah.
To Woodburn, Salinger wrote that he worried about being pigeonholed as a Jewish-Irish writer if the book broadcast that information.
“My Jewish-Irishness isn’t quite so bizarre, as, say, [James] Thurber’s eyesight,” Salinger wrote, referring to the American author and cartoonist, who was legally blind by that time. “But nonetheless, second-rate reviewers would probably find the information just provocative enough to use and misuse over and over again, and I’d end up being expected to wear a Star of David and a Shamrock on the back of my sweatshirt. So, please, let’s be careful.”
Salinger’s other famous works include the 1948 short story “A Perfect Day for a Bananafish,” which follows the Irish Catholic-Jewish Glass family, who also make appearances in “Franny and Zooey.”
The letters, previously unpublished, were acquired from a private collector and will be on view at the New York International Antiquarian Book Fair at the Park Avenue Armory from Thursday to May 3.
The bookseller is also currently offering a first edition of the script of West Side Story, inscribed by all four writers of the play, book, and music: Leonard Bernstein, Jerome Robbins, Arthur Laurents, and Stephen Sondheim. Peter Harrington has also sold a rare, first printed edition of “De Bello Judaico” by Josephus Flavius, the first-century Roman-Jewish historian.
The triad of letters is currently offered at a set price of $47,500 and includes two typed letters by Salinger, with his signature, and a carbon copy of Woodburn’s reply. It also includes a reference to one of Salinger’s “lost stories,” a prequel to “Catcher in the Rye” that was not to be published until 50 years after his death.
Salinger died in 2010 at the age of 91. The “lost story,” “The Ocean Full of Bowling Balls,” was set to be published in 2060, but in 2013, it was pirated and leaked online.
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