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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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Israel Strikes Hezbollah Targets in Several Areas in Lebanon
Illustrative: Smoke rises after Israeli strikes following Israeli military’s evacuation orders, in Tayr Debba, southern Lebanon, Nov. 6, 2025. Photo: REUTERS/Ali Hankir
The Israeli military said it was striking Hezbollah targets in several areas in Lebanon on Thursday, adding that the strikes were in response to Hezbollah‘s “repeated violations of the ceasefire.”
An Israeli military spokesperson had earlier issued a warning to residents of certain buildings in the Lebanese village of Sohmor.
Israel and Lebanon agreed to a US-brokered ceasefire in 2024, ending more than a year of fighting between Israel and Hezbollah that had culminated in Israeli strikes that severely weakened the Iran-backed terrorist group. Since then, the sides have traded accusations over violations.
Lebanon has faced growing pressure from the US and Israel to disarm Hezbollah, and its leaders fear that Israel could dramatically escalate strikes across the battered country to push Lebanon‘s leaders to confiscate Hezbollah‘s arsenal more quickly.
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Pakistan-Saudi-Turkey Defense Deal in Pipeline, Pakistani Minister Says
Saudi Crown Prince Mohammed bin Salman and Pakistan Prime Minister Shehbaz Sharif meet in Riyadh, Saudi Arabia, Sept. 17, 2025. Photo: Saudi Press Agency/Handout via REUTERS
Pakistan, Saudi Arabia, and Turkey have prepared a draft defense agreement after nearly a year of talks, Pakistan‘s Minister for Defense Production said, a signal they could be seeking a bulwark against a flare-up of regional violence in the last two years.
Raza Hayat Harraj told Reuters on Wednesday the potential deal between the three regional powers was separate from a bilateral Saudi–Pakistani accord announced last year. A final consensus between the three states is needed to complete the deal, he said.
“The Pakistan–Saudi Arabia-Turkey trilateral agreement is something that is already in pipeline,” Harraj said in an interview.
“The draft agreement is already available with us. The draft agreement is already with Saudi Arabia. The draft agreement is already available with Turkey. And all three countries are deliberating. And this agreement has been there for the last 10 months.”
Asked at a press conference in Istanbul on Thursday about media reports on negotiations between the three sides, Turkish Foreign Minister Hakan Fidan said talks had been held but that no agreement had been signed.
Fidan pointed to a need for broader regional cooperation and trust to overcome distrust that creates “cracks and problems” that led to the emergence of external hegemonies, or wars and instability stemming from terrorism, in the region.
“At the end of all of these, we have a proposal like this: all regional nations must come together to create a cooperation platform on the issue of security,” Fidan said. Regional issues could be resolved if relevant countries would “be sure of each other,” he added.
“At the moment, there are meetings, talks, but we have not signed any agreement. Our President [Tayyip Erdogan]’s vision is for an inclusive platform that creates wider, bigger cooperation and stability,” Fidan said, without naming Pakistan or Saudi Arabia directly.
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The Trump-Backed Palestinian Who Wants to Push Gaza’s Rubble Into the Sea
A drone view shows Palestinians walking past the rubble, following Israeli forces’ withdrawal from the area, amid a ceasefire between Israel and Hamas in Gaza, in Gaza City, Oct. 11, 2025. Photo: REUTERS/Dawoud Abu Alkas
Ali Shaath, the Palestinian former government official chosen to administer Gaza under a US-backed deal, has an ambitious plan that includes pushing war debris into the Mediterranean Sea and rebuilding destroyed infrastructure within three years.
The appointment of the civil engineer and former deputy planning minister on Thursday marked the start of the next phase of US President Donald Trump‘s plan to end Israel’s war in Gaza.
Shaath will chair a group of 15 Palestinian technocrats tasked with governing the Palestinian enclave after years of rule by Hamas terrorists.
Under Trump‘s plan, Israel has withdrawn from nearly half of Gaza but its troops remain in control of the other half, a wasteland where nearly all buildings have been destroyed. Trump has floated turning Gaza into the “Riviera of the Middle East.”
Shaath will face the uncertain task of rebuilding the territory’s shattered infrastructure and clearing an estimated 68 million tons of rubble and unexploded ordnance even as Israel and Hamas continue to trade fire.
After past rounds of fighting with Israel, Palestinians in Gaza used war rubble as foundational material for the historic marina in Gaza City and for other projects. In an interview with a Palestinian radio station on Thursday, Shaath suggested a similar approach.
“If I brought bulldozers and pushed the rubble into the sea, and made new islands, new land, I can win new land for Gaza and at the same time clear the rubble,” Shaath said, suggesting the debris could be removed in three years.
He said his immediate priority was the provision of urgent relief, including forging temporary housing for displaced Palestinians. His second priority would be rehabilitating “essential and vital infrastructure,” he said, followed by reconstruction of homes and buildings.
“Gaza will return and be better than it used to be within seven years,” he said.
According to a 2024 UN report, rebuilding Gaza’s shattered homes will take until at least 2040, but could drag on for many decades.
REBUILDING GAZA
Shaath, born in 1958, is originally from Khan Younis in southern Gaza. He previously served as the deputy minister of planning in the Palestinian Authority in the West Bank, where he currently resides.
In that role and others, he oversaw the development of several industrial zones in the West Bank and Gaza. He holds a PhD in Civil Engineering from Queen’s University Belfast.
Shaath’s upbeat assessment of the timeline for rebuilding Gaza is almost certain to face challenges as mediators struggle to agree terms on disarming Hamas, which refuses to give up its weapons, and deploying peacekeepers in the enclave.
It was unclear how Shaath’s committee would proceed with rebuilding and gaining permissions for the import and use of heavy machinery and equipment – generally banned by Israel.
Israel, which cites security concerns for restricting the entry of such equipment into Gaza, did not respond to requests for comment on Shaath’s appointment and plans.
Shaath said the Palestinian committee’s area of jurisdiction would begin with Hamas-controlled territory and gradually increase as Israel’s military withdraws further, as called for in Trump‘s plan.
“Ultimately, the [committee’s] authority will encompass the entire Gaza Strip — 365 square kilometers — from the sea to the eastern border,” Shaath said in the radio interview.
SUPPORT FROM HAMAS AND ABBAS
The formation of Shaath’s committee has won support from Hamas, which is holding talks on Gaza’s future with other Palestinian factions in Cairo.
Senior Hamas official Bassem Naim said the “ball is now in the court of the mediators, the American guarantor and the international community to empower the committee.”
Palestinian Authority President Mahmoud Abbas, whose authority has limited sway in the West Bank, voiced support for the committee, which he said would run Gaza through a “transitional phase.”
“We reaffirm the importance of linking the institutions of the Palestinian Authority in the West Bank and Gaza, and avoiding the establishment of administrative, legal and security systems that entrench duality and division,” Abbas said in a statement published on Thursday by the official WAFA news agency.
Israel and Hamas agreed in October to Trump‘s phased plan, which included a complete ceasefire, the exchange of hostages living and deceased for Palestinian prisoners, and a surge of humanitarian aid into Gaza.
The deal has been shaken by issues including Israeli airstrikes targeting Hamas operatives, the failure to retrieve the remains of one last Israeli hostage, and Israeli delays in reopening Gaza’s border crossing with Egypt.
On Thursday, a senior Hamas figure was among seven people killed in a pair of Israeli airstrikes in Deir al-Balah in the central Gaza Strip, a Hamas source said.
The source said one of the dead was Mohammed Al-Holy, a local commander in the terrorist group’s armed wing in Deir al-Balah.