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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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My grandmother Eva Schloss survived Auschwitz. She would not be silent about America today.
(JTA) — Back in 2016, my Oma, Eva Schloss, made international headlines for comparing President Donald Trump and Adolf Hitler. As a child, she lived through the rise of fascism, a pattern she was nervous to see echoed in the United States. She fled from Austria to Amsterdam, only to be deported to Auschwitz with her entire family; she ultimately survived Auschwitz with only her mother — my great-grandmother. She devoted her life to Holocaust education, and she refused to back away from making these comparisons.
My Oma was famous not only for being a Holocaust educator but also because of who her mother married after the war — Otto Frank, Anne Frank’s father, whose entire family had been murdered. She passed away just a month ago, and I believe it is my responsibility to ensure that her message lives on.
That is why I am saying that it is a shameful disservice to both her memory and Anne Frank’s for the United States Holocaust Memorial Museum to call comparisons between ICE violence and the Holocaust “deeply offensive.”
The museum was responding to Minnesota Gov. Tim Walz’s comments urging ICE to leave his state. “We have got children in Minnesota hiding in their houses, afraid to go outside. Many of us grew up reading that story of Anne Frank,” he said. “Somebody is going to write that children’s story about Minnesota.”
I believe he is right. Remembering the Holocaust does not mean waiting for gas chambers before we speak. It means recognizing how ordinary policies — immigration bans, detention regimes, and mass deportations — prepare the ground for mass violence. These are through lines in history. My grandmother spoke because she recognized these patterns as they emerged. Remembering the Holocaust means we need to compare, draw analogies, and recognize how these patterns shift over time — so we can disrupt them before they take hold again.
But the widespread use of Holocaust analogies right now overlooks some key context. Treating ICE’s violence as analogous to the Holocaust risks obscuring the fact that white supremacist violence is deeply embedded in U.S. history itself. Nazi ideology did not emerge in a vacuum; it was partly shaped by American precedents. The notion of Lebensraum (“living space”), a key tenet of Nazi ideology, was inspired by the American notion of Manifest Destiny, as noted by the USHMM itself. The Nuremberg laws targeting Jews were modeled on America’s own racial segregation laws.
When Donald Trump speaks of “bad genes” in relation to immigrants, it’s easy to draw a through line from the American eugenics program of the early 20th century, through Nazi racial ideology, to the actions taken by ICE today. Instead, we should look at contemporary white supremacy in context, as part of an ecosystem of racist and authoritarian movements, influenced by both American and German ideas.
My Oma spoke out for immigrants and refugees because she lived through her family’s death and suffering as a result of countries refusing to open their borders to people fleeing Nazi territory. Trying to escape, running from embassy to embassy, my Oma’s family submitted one last application to move to Australia — but it was denied. She wrote: “It’s almost unbearable to think how much that denied visa application changed our lives,” leading to the death of her father and brother. Over the past nine years, we have seen the near-total collapse of the U.S. asylum and refugee system. My Oma knew that the more borders close, the more children would be stranded in violent and dangerous situations, just like what happened to her younger self and to Anne Frank.
It is unacceptable for the USHMM to distort my family’s history and silence people speaking out about the persecution of others. Many of the same communities who were murdered alongside my Jewish family by the Nazis — including Black, Brown, trans, Indigenous, Romani, queer, and disabled people — are the same groups being targeted directly by this administration.
For those of us who are descendants of Holocaust survivors, remembering our history means refusing to stand idly by as Holocaust memory is misused to downplay the abductions and killings of our neighbors and to falsely justify violent border restrictions. The USHMM is justifying an approach that leans on fear and oppression, which does nothing to protect Jews or anyone else. Instead, we must insist on a world that truly believes, as the Jewish immigration justice organization that I belong to says, “Never again for anyone.”
By condemning these comparisons, the USHMM is not safeguarding Holocaust memory — it is policing historical memory so that it applies only to certain groups, stripping it of its power as a universal warning against dehumanization and state violence. Instead, let’s call out white supremacy and build a society that values our collective safety.
When I was coming home after my grandmother’s funeral in England last month, I was nervous that I might not be let into the country because I know that many immigrants, including green card holders like myself, have been denied entry. Even knowing that my privileges would likely protect me, I felt scared. And that’s exactly what the government is trying to do — make all immigrants (no matter our status) live in fear.
When I think about my Oma, I remember who changed the course of her life: the many members of the Dutch resistance who broke the law to hide her, and the one who followed the law to inform on her.
Now is the time to ask ourselves: which one do we want to be?
This article originally appeared on JTA.org.
The post My grandmother Eva Schloss survived Auschwitz. She would not be silent about America today. appeared first on The Forward.
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Credit Suisse had many more bank accounts with Nazi ties than previously known, investigation finds
(JTA) — The financial services company Credit Suisse had hundreds more bank accounts with Nazi ties than it had previously revealed, a new investigation reported this week.
The findings were discovered when independent investigators audited UBS, the Swiss bank that acquired Credit Suisse in 2023.
“What the investigation has found to date shows that Credit Suisse’s involvement was more extensive than was previously known, and it underscores the importance of continuing to engage in research efforts about this horrific era of modern history,” Neil Barofsky, a lawyer overseeing the inquiry, testified before the Senate Judiciary Committee Tuesday.
Barofsky’s report found 890 accounts potentially linked to Nazis: 628 individuals and 262 legal entities.
The investigation also found that Credit Suisse provided support to the “ratlines” that enabled Nazis to escape Europe and enter Argentina, opening and maintaining accounts for the Argentine Immigration Office.
Specifically, Barofsky said in his testimony, Credit Suisse provided funds “to finance bribes, obtain fraudulent travel documents, and pay for living expenses and transportation for fugitives, including perpetrators of the Holocaust.”
Barofsky’s investigation into UBS also found multiple previously unreported instances of the forced sale of property owned by Jews during the Holocaust. It also found that Credit Suisse held accounts for the German foreign office during the Holocaust, which dealt with the deportations of Jews.
Last May, Argentina declassified more than 1,800 documents related to the ratlines at the behest of the Simon Wiesenthal Center, named for the late Nazi hunter. Barofsky’s research into Credit Suisse’s involvement in the ratlines is ongoing, he said.
The findings represent a potentially explosive capstone to years of investigation into Credit Suisse’s Nazi ties.
Jewish organizations have long claimed that in addition to playing a key role in financially supporting Nazi Germany, Credit Suisse has held onto money looted from Jews long after the war. In 1999, the Swiss bank paid Jewish groups and Holocaust survivors a settlement of $1.25 billion in restitution for withholding money from Jews who had tried to withdraw their funds.
In 2020, the Simon Wiesenthal Center, a Jewish advocacy group, alleged that the bank had also hidden information about its ties to Nazis who fled to Argentina.
The bank hired Barofsky the following year to investigate its record but fired him in 2022, angering U.S. lawmakers including Sen. Chuck Grassley, now chair of the Senate Judiciary Committee. In 2023, as the top Republican on the Budget Committee, Grassley charged that Credit Suisse was obfuscating its Nazi ties, saying, “When it comes to investigating Nazi matters, righteous justice demands that we must leave no stone unturned. Credit Suisse has thus far failed to meet that standard.” Barofsky was soon rehired.
Tuesday’s hearing grew heated when Barofsky said the bank was still interfering with his investigation. He argued that his investigation could not be completed without access to 150 documents related to a 1998 restitution settlement between UBS and Holocaust survivors, which Barofsky says may contain the names of specific account holders he is investigating.
Robert Karofsky, president of UBS Americas, alleged Tuesday that giving Barofsky access to those documents could violate attorney-client privilege.
“Materials from the 1990’s are not within the scope of the Ombudsperson’s oversight, which is meant to be focused on Credit Suisse’s history and World War II-era conduct,” Karofsky said.
Still, Barofsky said, his report will be incomplete without those documents.
“I will be unable to provide assurance in my final report that the investigation has truly left no stone unturned,” he said.
The post Credit Suisse had many more bank accounts with Nazi ties than previously known, investigation finds appeared first on The Forward.
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Former Moscow rabbi says he rebuffed proposal to convert a million Russians discussed in Epstein files recording
(JTA) — When newly released audio recordings revealed former Israeli Prime Minister Ehud Barak discussing mass conversion and selective immigration with Jeffrey Epstein, disgraced financier and the convicted sex trafficker, the reaction in Israel was swift and deeply political.
Israel’s current prime minister, Benjamin Netanyahu, accused Barak of seeking to “select” Jews for immigration and charged that Israel’s political left was trying to “replace the people” after failing at the ballot box — an echo of contemporary conspiracy theories about immigration that appear to have been treated as a serious idea at the time.
The recordings, released this week as part of the U.S. Justice Department’s latest disclosure under the Epstein Files Transparency Act, capture Barak in a wide-ranging conversation with Epstein, who died in federal custody in 2019. The audio appears to date to around 2013, when Barak — a longtime leader in the liberal Labor Party — was 71 years old and transitioning into the private sector.
In the recording, Barak argues that Israel should weaken the Orthodox rabbinate’s control over conversion and open the door to large-scale conversion as a demographic strategy.
“We have to break the monopoly of the Orthodox rabbinate — on marriage and funerals, the definition of a Jew,” Barak says. “Open the gates for massive conversion into Judaism. It’s a successful country. Many will apply.”
Over more than three hours, Barak speaks candidly about population trends in Israel, the West Bank and Gaza, warning that without a two-state solution, Jews could lose their demographic majority.
“It will be an Arab majority,” Barak says of the territories. “It’s a collective blindness of our society.”
Barak also expresses concern about the growing proportion of Arab citizens within Israel, noting that Arabs made up about 16% of the population four decades ago and roughly 20% today. He contrasts that growth with the ultra-Orthodox Jewish population, which he says is expanding more rapidly.
As a counterweight, Barak proposes immigration, conversion and minority inclusion. He praises the Druze and Christian minorities as highly integrated and points to immigrants from the former Soviet Union as prime candidates for conversion.
“We can control the quality much more effectively, much more than the founding fathers of Israel did,” Barak says. Referring explicitly to immigration from North Africa, he adds: “They took whatever came just to save people. Now, we can be more selective.”
Barak lauds the post-Soviet aliyah of the 1990s, which brought more than 1 million Russian-speaking immigrants to Israel, and says the country could “easily absorb another million.” He recounts telling Russian President Vladimir Putin that Israel about this idea and joking about mixed Russian-Israeli names in the military as evidence of rapid integration.
The remarks drew sharp criticism from Pinchas Goldschmidt, who spent more than three decades leading Moscow’s Jewish community before leaving the country after Russia’s invasion of Ukraine in 2022. In an interview, Goldschmidt said the recording echoed conversations he encountered repeatedly during his years in Russia.
“I spent 33 years in Moscow, and there was talk like this,” Goldschmidt said. “Not necessarily among the heads of the agencies dealing with aliyah, but among employees and officials who felt this was their opportunity to stop Israel from becoming a Levantine country.”
Goldschmidt said those attitudes occasionally surfaced in direct encounters with Israeli political figures. He recalled a meeting with former Israeli minister Haim Ramon, who asked whether Orthodox rabbinical courts could convert large numbers of non-Jewish immigrants from the former Soviet Union.
“He came to me with a number,” Goldschmidt said. “He mentioned 100,000.”
Goldschmidt said his response was categorical. “Halacha doesn’t speak in numbers,” he said, referring to Jewish law. “There is no number on the top and no number on the bottom. Halacha speaks about standards and conditions. If 1 million people are ready to convert according to Jewish law, then we will convert 1 million people. And if they are not ready, we will not convert even one.”
Goldschmidt said the meeting took place after Ramon had left government following a sexual misconduct scandal but emphasized that it was not a casual exchange.
“It was more than a conversation,” he said. “It was not a conversation over tea. If he came to see me officially, with a question like that on the table, then it meant something.”
For Goldschmidt, Barak’s claim in the recording that he discussed such matters with Putin was particularly striking. “Why do you have to speak to Putin about converting a million Russians?” he asked. “People can leave Russia without permission. The person he needed to speak to was me.”
Goldschmidt said Barak’s framing of conversion and immigration would be widely perceived in Israel as offensive. “Anyone from Middle Eastern backgrounds would hear this whole conversation as extremely racist,” he said. “And anyone who is traditional or religious would also find it very offensive.”
In his comments, Netanyahu also said Barak’s close relationship with Epstein proved that Epstein did not work for Israel or its intelligence services, saying it would make no sense for an Israeli asset to be closely associated with one of the government’s most vocal opponents.
Barak’s ties to Epstein — including repeated meetings years after Epstein’s 2008 conviction — have been reported previously, and there is no evidence of criminal wrongdoing by Barak.
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