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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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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.
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The cheesy way to do teshuvah
To Europeans, cheese culture in the United States is not quite ripe.
The Kraft company, for good and for ill, has defined American cheese in high-gloss orange. But if you’ve been to a grocery store or farmer’s market in recent decades, guided by tatted-up slicers ready to educate you on musky bouquets and runny rinds, you know this is only part of the picture.
Sara Joe Wolansky’s The Big Cheese follows Adam Moskowitz, a third-generation cheese importer as he coaches Team U.S.A. to compete at the Mondial du Fromage in France — the Olympics of cheesemongers. He’s the one in the cow suit, leading a group chant of barnyard noises he calls a “mooditation.” You might mistake his bootcamp in Queens as a joke, but he’s not kidding.
“For me this is redemption,” he says.
Moskowitz, equal parts Tevye the dairyman, George S. Patton and the Beastie Boys, credits cheese with saving his life. At first he was resistant to enter the family trade, begun by his immigrant grandfather, Ben, who started in the business as a kid with a pushcart in Washington Market in Tribeca and became one of the first Americans to import now familiar cheeses from abroad. Adam’s father, Joseph, expanded the market, debuting Jarlsberg and Boursin in our supermarkets.
An ambitious workaholic, Adam forged his own path, earning his first million dollars as a salesman at Yahoo! in the 1990s, and losing it almost immediately when the dot-com bubble burst. When his flirtation with a rap career fell flat (you’ll see why), he joined the world of cheese at the family firm, Larkin Cold Storage, and brought the party there, founding the Cheesemonger Invitational, a booze-soaked celebration he emceed, between bumps of coke in the bathroom.
The invitational Moskowitz founded in 2011 helped inspire the Mondial, a competition that pits the world’s best cheesemongers against one another in blind taste tests, oral presentations pitching a specific cheese and statue displays. By 2023, no American had ever placed in the competition. A newly sober Moskowitz was determined to crumble that Roquefort ceiling.
In Moskowitz’s journey is a tale of Tillamook teshuvah. He is indebted to the cheese community for letting him make amends. Throughout, he reflects on his behavior as an addict, leading to some heavy moments in an otherwise frothy endeavor.
The documentary is also focused on two competing cheesemongers, Sam Rollins and Courtney Johnson, who Moskowitz and a panel of experts picked to challenge the snooty Europeans. It’s a compelling look at a slice of an industry whose experts get shorter shrift than their oenological counterparts. (A monger is a cheese sommelier, make no mistake.)
I won’t spoil the ending, except to say events cooperated with the film’s feel-good vibe, though you may end up wishing Wolansky stayed on a bit longer for the following year’s competition, which saw a major win for the underdogs.
The film may just bring out the patriot in you, as you root for American soft (cheese) power to prevail. It could just be the perfect thing to watch this coming Shavuot.
Sara Joe Wolansky’s The Big Cheese makes its world premiere at DOC NYC. In person and online dates can be found here.
The post The cheesy way to do teshuvah appeared first on The Forward.
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Netanyahu, Touting Push Toward Greater Self-Reliance, Denies Report Israel Seeking 20-Year US Military Aid Deal
US President Donald Trump greets Israeli Prime Minister Benjamin Netanyahu at the White House in Washington, DC, US, Sept. 29, 2025. Photo: REUTERS/Kevin Lamarque
Israel Prime Minister Benjamin Netanyahu has denied reports that his country is seeking a new 20-year military aid deal with the US, insisting that the Jewish state is working to wean itself off American assistance.
“I don’t know what they’re talking about. My direction is the exact opposite,” Netanyahu said on “The Erin Molan Show” on Thursday when asked by the Australian journalist about a new Axios report saying Israel was pursuing the security agreement.
According to Axios, the deal under discussion would include “America First” provisions to win the Trump administration’s support. The current 10-year memorandum of understanding between the two countries — the third such agreement signed — expires in 2028. It includes around $3.8 billion of annual military aid to Israel, which spends nearly all the assistance in the US to purchase American-made weapons and equipment.
The report comes amid growing criticism in the US among progressives and, increasingly, some conservatives over American military support for Israel, especially among younger Americans.
“Now, I want to make our arms industry independent, totally as independent as possible,” Netanyahu said on Thursday. “I think that it is time to ensure that Israel is independent.”
Netanyahu added that US defense aid to Israel is a “tiny fraction” of what Washington spends in the Middle East.
“We have a very strong economy, a very strong arms industry, and even though we get what we get, which we appreciate, 80 percent of that is spent in the US and produces jobs in the US,” he continued, saying he wants to see “an even more independent Israeli defense industry.”
The Israeli premier went on to stress that his country has never asked a single American solider to fight for Israel.
“Israel does not ask others to fight for us,” he said. “Israel is the one American ally in the world that says, ‘We don’t need boots on the ground, we don’t need American servicemen fighting on the ground for Israel or around Israel. We’re fine.’ We fight our own battles, but in doing so, we serve important American interests, like preventing countries that chant ‘Death to America’ from having nuclear bombs to throw at America.”
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South African President Says ‘Boycotts Never Really Work’ Despite BDS Support
South Africa’s President Cyril Ramaphosa attends the 20th East Asia Summit (EAS), as part of the 47th ASEAN Summit in Kuala Lumpur, Malaysia, Oct. 27, 2025. Photo: REUTERS/Hasnoor Hussain
South African President Cyril Ramaphosa insisted that “boycott politics doesn’t work” following the Trump administration’s announced absence from a summit in his country later this month — despite his ruling party’s ongoing support for the boycott, divestment, and sanctions (BDS) movement against Israel.
On Wednesday, Ramaphosa urged US President Donald Trump to reconsider his decision to boycott the G20 Leaders’ Summit, scheduled for Nov. 22-23 in Johannesburg, northeastern South Africa.
Ramaphosa criticized Washington for “giving up the very important role that they should be playing as the biggest economy in the world” in its decision to skip the summit — the first to be held in Africa.
“It is unfortunate that the United States has decided not to attend the G20. All I can say in my experience in politics is that boycotts never really work. They have a very contradictory effect,” the South African leader told reporters outside parliament in Cape Town.
Trump, who has previously accused the South African government of human rights abuses against white minorities — including land seizures and killings — called the decision to host the G20 summit in the country a “total disgrace.”
“No US government official will attend [the summit] as long as these human rights abuses continue,” he wrote in a post on Truth Social.
However, the South African government has strongly rejected any claims of genocide, saying such accusations are “widely discredited and unsupported by reliable evidence.”
Ramaphosa reaffirmed that the summit will proceed as scheduled, regardless of Washington’s absence.
“The G20 will go on. All other heads of state will be here, and in the end, we will take fundamental decisions. And their absence is their loss,” he said.
“The US needs to think again whether boycott politics actually works, because in my experience, it doesn’t work. It’s better to be inside the tent rather than being outside the tent,” he continued.
Despite such claims, Ramaphosa’s ruling African National Congress (ANC) party has officially endorsed the BDS campaign against Israel for years.
The BDS movement seeks to isolate the Jewish state internationally as a step toward its eventual elimination. Leaders of the campaign have repeatedly stated their goal is to destroy the world’s only Jewish state.
In 2012, the ANC announced its full backing of the BDS movement, urging “all South Africans to support the programs and campaigns of the Palestinian civil society which seek to put pressure on Israel to engage with the Palestinian people to reach a just solution.”
Following Ramaphosa’s comments this week, it remains unclear why he continues to back anti-Israel boycotts if he believes they don’t work.
Since the start of the war in Gaza, the South African government has been one of Israel’s fiercest critics, actively confronting the Jewish state on the international stage.
Beyond its open hostility toward Israel, South Africa has actively supported Hamas, hosting officials from the Palestinian terrorist group and expressing solidarity with their “cause.”
In one instance, Ramaphosa led a crowd at an election rally in a chant of “From the river to the sea, Palestine shall be free” — a popular slogan among anti-Israel activists that has been widely interpreted as a genocidal call for the destruction of the Jewish state, which is located between the Jordan River and the Mediterranean Sea.
Since December 2023, South Africa has also been pursuing its case before the International Court of Justice accusing Israel of committing “state-led genocide” in its defensive war against Hamas in Gaza.
Israeli leaders have condemned the case as an “obscene exploitation” of the Genocide Convention, noting that the Jewish state is targeting terrorists who use civilians as human shields in its military campaign.