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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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Lebanese President, Hezbollah Split Over Expanded Talks With Israel
A civil defense member stands on rubble at a damaged site after Israel’s military said it struck targets in two southern Lebanese towns in Jbaa, southern Lebanon, Dec. 4, 2025. Photo: REUTERS/Ali Hankir
Lebanon’s president on Friday defended his decision to expand talks with Israel as a way to avoid further violence, but the head of Lebanese terrorist group Hezbollah called it a blunder, lifting the lid on divisions at a watershed moment for the country.
Israel and Lebanon on Wednesday both sent civilian envoys to a military committee monitoring their ceasefire, a step toward a months-old US demand that the two countries broaden talks in line with President Donald Trump’s Middle East peace agenda.
Lebanese President Joseph Aoun told visiting representatives of the United Nations Security Council that his country “has adopted the option of negotiations with Israel” and that “there is no going back.”
“These negotiations are mainly aimed at stopping the hostile actions carried out by Israel on Lebanese territory, securing the return of the captives, scheduling the withdrawal from the occupied areas, and resolving the disputed points along the Blue Line,” Aoun said in a statement on Friday, referring to the UN-mapped line that separates Israel from Lebanon.
HEZBOLLAH CALLS MOVE ‘FREE CONCESSION’
But the expanded talks were criticized by Iran-backed Hezbollah, an armed Islamist group that for years has wielded significant influence across Lebanon. However, Israel decimated the terrorist group’s leadership and military capabilities last fall after a year of fighting, significantly diminishing Hezbollah’s political clout in Lebanon.
Its head, Naim Qassem, said on Friday afternoon that sending a civilian delegate to the truce monitoring committee was a “blunder,” and urged the government to rethink its decision.
“You offered a free concession that will not change anything in the enemy’s [Israel‘s] position or its attacks,” Qassem said.
Lebanon and Israel have been officially enemy states for more than 70 years, and meetings between their civilian officials have been extraordinarily rare throughout their fraught history.
Over the last year, military officials have met as part of a committee, chaired by the United States, to monitor a 2024 truce that ended more than a year of fighting between Israel and Hezbollah which badly weakened the Iran-backed group.
In that time, Israel has continued its air strikes on what it says are Hezbollah‘s attempts to re-arm in violation of the truce. Lebanon says those strikes and Israel‘s occupation of southern Lebanese territory are ceasefire breaches.
Fears are growing in Lebanon that Israel could expand its air campaign further to ratchet up pressure on the Lebanese government to disarm Hezbollah more swiftly across the country.
The group has refused to disarm in full and has raised the specter of internal strife if the state tries to confront it.
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Iran Holds Drills in Gulf, Firing Ballistic, Cruise Missiles at Simulated Targets
An Iranian missile is launched during a military exercise in an undisclosed location in Iran, Aug. 20, 2025. Photo: Iranian Army/WANA (West Asia News Agency)/Handout via REUTERS
The Navy of Iran‘s Islamic Revolutionary Guard Corps (IRGC) fired ballistic and cruise missiles at simulated targets in the Gulf on Friday during a two-day military exercise aimed at countering foreign threats, state media reported.
Earlier, Iran hosted an anti-terrorism drill in its northwestern province of East Azerbaijan with members of the Shanghai Cooperation Organization, which, according to state Press TV, was intended to signal both “peace and friendship” to neighboring states and warn enemies that “any miscalculation would meet a decisive response.”
The ground and naval exercises follow a 12-day air war between Israel and Iran in June, during which the US joined Israel in striking Iran‘s nuclear facilities.
State media reported a massive launch of Qadr 110, Qadr 380, and Qadr 360 cruise missiles and 303 ballistic missiles at targets in the Gulf of Oman. Drones simultaneously struck simulated enemy bases, the reports said.
The IRGC Navy began its exercise in the strategic Strait of Hormuz and the Gulf of Oman on Thursday.
It emphasized what it said was its heightened artificial intelligence readiness and the “unwavering spirit and resistance” of its sailors in confronting any threat.
The West sees Iran‘s ballistic missiles both as a conventional military threat to regional stability and a possible delivery mechanism for nuclear weapons should Tehran develop them.
The land drills in the northwest were the latest in a series of SCO exercises aimed at enhancing coordination among member and partner states. Saudi Arabia, Iraq, Oman, and Azerbaijan also took part in the cross-border counterterrorism exercises.
The SCO, a Eurasian security and economic bloc founded in 2001 to combat terrorism, separatism, and extremism, often conducts joint military exercises among its members.
The organization includes China, Russia, India, Pakistan, and several Central Asian countries, with observer and dialogue partners such as Iran, Saudi Arabia, and others participating in selected operations.
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Eurovision Faces Budget Squeeze After Walkouts Over Israel
Journalists stand in front of a screen in Wiener Stadthalle, the venue of next year’s Eurovision in Vienna, Austria, Nov. 18, 2025. Photo: REUTERS/Leonhard Foeger
The Eurovision Song Contest was facing a potential budget squeeze after Spain, the Netherlands, Ireland, and Slovenia said they would withdraw from next year’s competition in protest of Israel‘s participation.
The planned boycott brought to a head a row that has overshadowed the past two contests, and followed threats by the four they would pull out if the organizer did not exclude Israel over the conduct of its war against Hamas in Gaza.
The walkout by Spain, one of the “big five” backers of the contest, and two of Europe’s wealthiest countries, raises the prospect of less sponsorship income and viewers for the extravaganza that draws millions of viewers worldwide.
AUSTRIA TO HOST EUROVISION IN MAY
Austria will host the next edition in May, and national broadcaster ORF said the loss of the four would be felt – but would not prevent a successful show.
“Overall, it would of course be a financial burden if several countries did not participate, but we had already taken this into account,” ORF chief Roland Weissmann said.
Members of the contest organizer, the European Broadcasting Union, on Thursday resisted calls by critics for a vote on Israel‘s participation, instead passing new rules aimed at discouraging governments from influencing the competition.
“There are no winners here regardless of whether Israel‘s in or out, the whole thing feels a little bit toxic now,” said Eurovision expert Paul Jordan, who noted the walkouts would hit the budget and viewership.
Israel‘s 1998 Eurovision winner, Dana International, saw the boycott as insulting. “You don’t punish an entire country because you disagree politically with its government,” she said.
Ireland’s 1994 winner, Paul Harrington, said politics and world events were hard for the competition to avoid.
“It’s difficult, although it would be lovely to say, let’s have this little moment every year where we forget about everything,” he told Reuters from Dublin.
BROADCASTERS CONTRIBUTE TO FINANCING
The contest is mostly financed by contributions from broadcasters, the hosts, and sponsorship and revenue from the event, according to the Eurovision website. It does not disclose details of how much each country pays.
Contributions from some 40 participating broadcasters are divvied up on the principle that the strongest shoulder the biggest burden. It also includes a contribution from the host broadcaster generally worth between 10 and 20 million euros.
The host city also contributes, buttressed by revenues from sponsorship, ticket sales, televoting, and merchandise.
About 5.8 million viewers in Spain watched Eurovision 2025, Spanish broadcaster RTVE said. In the Netherlands, an average of 3.4 million people tuned in, Dutch broadcaster AvroTros said. Both declined to give details on their financial contributions.
Irish broadcaster RTE said it had paid an annual EBU fee to participate in the 2025 contest of 100,270 euros.
Contest director Martin Green says Eurovision is financially secure, and that any loss of audience could be compensated by the return of Bulgaria, Romania, and Moldova next year.
Still, the combined population of the four protesting nations is more than 2-1/2 times that of the three returners. And their combined economic output is many times greater.
Israel‘s 2025 entrant, Yuval Raphael, was at the Nova music festival, a target of the Oct. 7, 2023, attack by Palestinian terrorist group Hamas on Israel that triggered the Gaza war.
A total of 1,200 people were killed and 251 taken hostage in the assault by Hamas. Israel responded with a military campaign aimed at freeing the hostages and dismantling Hamas’s rule in neighboring Gaza.