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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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Iran Fast-Boat Swarms Add to Hormuz Threats for Shipping
A satellite image shows a fleet of small boats at sea, north of the Strait of Hormuz near the Kargan coast, Iran, April 22, 2026. Photo: European Union/Copernicus Sentinel-2/Handout via REUTERS
Iran‘s use of a swarm of small, fast boats to seize two container ships near the Strait of Hormuz could undermine suggestions US forces have disabled its naval threat and reveals the challenges facing reopening one of the world’s most important oil export routes.
US President Donald Trump on Monday acknowledged that while Iran’s conventional navy had been largely destroyed, its “fast-attack ships” had not been considered much of a threat.
He said any such vessels coming near a US blockade set up outside the strait would be “immediately ELIMINATED” using the “same system of kill” deployed in the Caribbean and Pacific where US air strikes have hit suspected drug boats and killed at least 110 people.
Those boats were not attacking large, unarmed commercial ships, however, nor nearly as heavily armed, with Iran‘s Revolutionary Guards packing heavy machineguns, rocket launchers and, in some cases, anti-ship missiles.
Speedboat attacks now form part of a “layered system of threats,” alongside “shore-based missiles, drones, mines, and electronic interference to create uncertainty and slow decision-making,” Greek maritime security company Diaplous told Reuters.
Iran was estimated to have hundreds, if not thousands, of these boats before the war, often hidden in coastal tunnels, naval bases, or among civilian vessels, according to maritime security specialists.
Some 100 or more may have been destroyed since the Iran war began on Feb. 28, said Corey Ranslem, chief executive of maritime security group Dryad Global.
CHANGE IN TACTICS
Before this week, Iran had relied on missile and drone strikes to hit shipping traffic around the strait, a route which normally handles 20% of the world’s daily oil and liquefied natural gas supply.
Those attacks had stopped with the April 8 ceasefire.
The seizure of the two container ships by Iran followed Washington imposing a blockade on Iran‘s trade by sea and the start of it intercepting Iran-linked oil tankers and other ships.
“The civilian shipping industry is not equipped to prevent Iranian armed forces from seizing vessels,” said Daniel Mueller, a senior analyst at British maritime security company Ambrey.
Typically, about a dozen boats are used in a seizure operation, he added.
Iran‘s fast boats now serve as the “backbone” of Iran’s naval strategy, able to deploy rapidly as part of its “asymmetrical war against the enemy,” a senior Iranian security official told Reuters.
“Because of their very high speeds, these boats can successfully carry out hit-and-run attacks without being detected,” the official said, speaking on condition of anonymity.
FAST BOAT LIMITATIONS
Including this week’s seizures, Iran has used small, fast boats at least seven times going back to 2019, Ambrey’s Mueller said.
High winds and swells in the waters off Iran during summer make it hard to conduct such operations, said one Iranian shipping source familiar with the waters.
“When it is very bumpy, they [armed forces onboard] cannot shoot,” the source said.
They are also ill-equipped to go head-to-head with a warship, and would likely suffer “very heavy casualties” in any direct assault on one, said Jeremy Binnie, a Middle East specialist at defense intelligence company Janes.
“Even if they tried to saturate the ship’s defenses by attacking from multiple directions, they would be extremely vulnerable to the air support that would be called in,” he said.
On paper, guided missile strikes would easily destroy these boats, but shoulder-fired missile launchers would pose a threat to low-flying US aircraft, Binnie said.
“It is going to be much harder to eliminate the small boat threat than it was to destroy Iran’s larger naval vessels, which were big targets that were relatively easy to find and track and, at most, only had a limited ability to defend themselves from air attack,” he said.
The reality for the shipping sector is further disruption as well as elevated insurance costs.
After the so-called “tanker war” of the 1980s, Iran increasingly used asymmetric tactics as the Iranian navy was effectively destroyed, much as it has been in the current conflict, said Duncan Potts, a director with consultancy Universal Defense and Security Solutions and a former British Royal Navy vice admiral.
“When the US Navy and the president say, ‘We’ve destroyed the navy, we’ve sunk a frigate off Sri Lanka’ – you’ve done that before, but you’ve forgotten that your opposition here went asymmetric. And they’ve perfected it.”
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UK’s Starmer Worried by Foreign-Backed Proxy Attacks on Jewish Sites in Britain
British Prime Minister Keir Starmer and US President Donald Trump (not pictured) hold a bilateral meeting at Trump Turnberry golf course in Turnberry, Scotland, Britain, July 28, 2025. Photo: REUTERS/Evelyn Hockstein
British Prime Minister Keir Starmer said on Thursday he was “increasingly concerned” about a growing use of proxies by foreign states to carry out attacks in Britain, pledging to bring forward new legislation following recent attacks.
London has seen a string of attacks – mostly arson – on Jewish-linked sites in recent weeks. Some of these are being investigated by counter-terrorism officers, although police say they are not currently being treated as terrorist incidents.
British authorities have increasingly pointed to hostile state activity as part of the backdrop to recent incidents, warning that foreign governments may seek to operate through criminal networks or proxies to maintain deniability.
“I’m increasingly concerned that a number of countries are using proxies for attacks in this country,” he said, speaking after meeting members of the Jewish community at Kenton United Synagogue, which was the target of an arson attack last Sunday.
The fire caused minor smoke damage to an internal room and there were no injuries. A 17-year-old British boy pleaded guilty on Tuesday to arson not endangering life in connection with the incident.
“We have to deal with malign state actors,” Starmer said, adding that it would require legislation by the government.
“I want this country to be a place where everybody feels safe and secure. This is not just a battle for the Jewish community,” Starmer said. “It is our battle. The Britain that I want is a Britain where people can practice their religion, their faith, in safety and security.”
British counter-terrorism police on Wednesday made two further arrests over an alleged plot to carry out an arson attack on a Jewish-linked site in London.
Detectives arrested two men aged 19 and 26 in Watford, northwest of London, on Tuesday, police said. Both remain in custody.
Police did not name a specific location but said the intended target was connected to the Jewish community.
Seven other people arrested earlier in the investigation have since been released on bail, London’s Metropolitan Police said.
British police have been investigating the string of attacks as part of a wider rise in antisemitic threats and criminal activity since the outbreak of the Israel-Hamas war in Gaza in October 2023.
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Son of Former Shah of Iran Appeals to Western Countries for Support
Reza Pahlavi, the exiled son of Iran’s last shah and an Iranian opposition figure, gestures as he speaks during a press conference at the House of the Bundespressekonferenz in Berlin, Germany, April 23, 2026. Photo: REUTERS/Liesa Johannssen
The son of the former Shah appealed to Western countries to join the war against Iran and criticized the decision of the German government not to meet him during his visit to Berlin on Thursday.
Reza Pahlavi, whose father was deposed in the revolution that brought Ayatollah Ruhollah Khomeini to power in 1979, accused Europe of standing by and allowing the Tehran government to continue the bloody repression of protests that killed thousands at the end of last year.
“The question is not whether change will come. Change is on the way,” he told a press conference in Berlin. “The real question is how many Iranians will lose their lives while the community of Western democracies continue to merely watch.”
Demonstrations by both supporters and opponents were held in central Berlin and a person was detained after Pahlavi, who made an appearance, was spattered with some form of red liquid.
POTENTIAL OPPOSITION LEADER
Pahlavi, who has spent most of his life in exile, emerged as a potential opposition leader after anti-government protests erupted in Tehran and other Iranian cities last year.
But Iran‘s opposition movements are deeply divided and many Western governments have been cautious about offering their endorsement because it remains unclear what support he enjoys, almost half a century after his father’s reign was overturned.
European countries, including Germany, have ruled out joining the United States and Israel, which opened the war on Feb. 28 with a wave of airstrikes that killed Iran‘s Supreme Leader Ayatollah Ali Khamenei.
Pahlavi’s visit to Germany came as efforts to end the conflict appear to have stalled, with Iran and the United States both maintaining blockades of the vital Strait of Hormuz, the conduit for around a fifth of the world’s oil.
He said it was a shame that Chancellor Friedrich Merz’s government had not offered a meeting during his visit to Germany.
“Exercise your prerogative. As democracies, you’re entitled to talk to whoever you want,” he said.