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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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Germany’s Merz Heads to Saudi, Gulf in Quest for New Partners
German Chancellor Friedrich Merz speaks during a cabinet meeting at the Chancellery in Berlin, Germany, Feb. 4, 2026. Photo: REUTERS/Liesa Johannssen
German Chancellor Friedrich Merz began a tour of Saudi Arabia, Qatar, and the United Arab Emirates on Wednesday aiming to forge energy and arms partnerships as Europe’s biggest and richest economy sought to reduce dependence on the US and China.
“We need such partnerships more than ever at a time when politics is increasingly being determined by major powers,” Merz said at the start of his three-day trip, adding the aim of such alliances was to preserve freedom, security, and prosperity.
“Our partners may not all share the same values and interests, but they share the view that we need a world order in which we trust agreements and treat each other with respect,” he added.
The tour, which follows visits to Brazil and South Africa last year and India last month, is part of a broader German initiative to diversify global alliances.
“In such a network of partnerships, we reduce unilateral dependencies, mitigate risks and create new opportunities together for our mutual benefit,” said Merz.
In the Gulf, Merz said he wanted deeper cooperation in the energy and armaments sectors, adding Berlin was adopting a less restrictive approach on arms exports. Germany’s economy minister prepared the ground last week.
QATAR ALREADY ONE OF GERMANY’S BIGGEST FOREIGN INVESTORS
Relations with Saudi Arabia deteriorated after the killing of Saudi Arabian journalist Jamal Khashoggi in 2018. Merz said while some improvements in human rights had taken place, there was more to be done and he would discuss this.
The Gulf states, with large sovereign wealth funds, already play a role in Germany’s economy. Qatar is one of the largest foreign investors in Germany, holding stakes in companies such as Volkswagen, utility RWE and shipping group Hapag-Lloyd.
Merz said he would address broader regional issues, calling for greater peace, stability, and cooperation, including normalization with Israel.
“One day, Israel should also be a welcome part of this order, not a rejected foreign body,” said Merz, addressing the balance Gulf states maintain on Israel and Palestinians.
On Iran, Merz said he had three demands: that Tehran stops violence against its own people, halts its military nuclear program, and ends destabilizing activities in the region.
Germany remains one of Israel’s closest allies in Europe, while Gulf states have navigated differing approaches to Iran, particularly since the Gaza war.
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The US and Europe Are Funding a Palestinian Authority Army in Gaza — That Doesn’t Exist
People attend the funeral of Palestinian critic Nizar Banat, who died after being arrested by Palestinians Authority’s security forces, in Hebron in the Israeli-occupied West Bank, June 25, 2021. REUTERS/Mussa Qawasma
While donor countries continue sending hundreds of millions in aid for Palestinian Authority (PA) salaries, they might want to ask a simple question: What are we paying for?
In a staggering admission on official PA TV, a Palestinian economic expert revealed the existence of an entirely useless financial sinkhole:
Economic expert Muayyad Afaneh: “We have about 17,000 [PA] Security [Forces] employees in the Gaza Strip, and 20,000 civil employees. They are still receiving salaries from the PA, and there are many services in the Gaza Strip that the PA is spending money on.”
[Official PA TV, The Economic Discourse, Jan. 3, 2026]
Could you imagine that there are 17,000 PA Security Forces members in Gaza, where Hamas — not the PA — has ruled with an iron fist since 2007?
To be clear, these PA Security Forces have no authority and no involvement in Gazan policing. Hamas does not allow them to operate. They are a ghost payroll. Yet month after month, the PA sends them salaries funded by international aid.
This financial farce is made worse by the fact that Israel has already made it clear that these forces must not have any post-war role in Gaza. So, what exactly is the PA paying for?
Worse still, the economic expert on PA TV explained that PA employees in Gaza receive salaries equal to their counterparts in actual PA-controlled areas, despite doing nothing.
Currently the PA is paying twice to the Gaza Strip. The first time is the money being held [by Israel], and the second time, it is still obligated to pay the allocations to the Gaza Strip [it does] to the West Bank, meaning the same salary rate a [PA] employee in the West Bank receives, an employee in the Gaza Strip receives.
[Official PA TV, The Economic Discourse, Jan. 3, 2026]
This is a slap in the face to American and European taxpayers who genuinely believe they are contributing to peace, governance, and development.
The Palestinian Authority’s lack of respect for donor money is systemic. From glorifying terrorists with salaries and promotions to financing people not to work, the PA treats foreign aid like a bottomless ATM with no accountability.
It’s time donors ask: Why are you paying salaries to people who protect nothing and serve no one?
The author is a contributor to Palestinian Media Watch, where a version of this article first appeared.
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How October 7 Changed Jewish Identity Across the World
The personal belongings of festival-goers are seen at the site of an attack on the Nova Festival by Hamas terrorists from Gaza, near Israel’s border with the Gaza Strip, in southern Israel, Oct. 12, 2023. Photo: REUTERS/Ronen Zvulun
The impact of October 7 and its aftermath on Jews around the world will be felt for at least a generation to come.
There is a concern that since the hostages have been returned, and the war in Gaza is over, that the energy and commitment on the part of Jewish people will subside. This is not the case. People have been recalibrated in ways that have not yet been fully understood, and those changes apply to Jewish people from all different walks of life.
Long after the headlines fade and the news cycle moves on, the psychological, emotional, and communal reverberations will continue to shape how Jewish people understand themselves and one another.
The questions about how to maintain “Jewish peoplehood,” have also largely been answered. For decades, Jewish leaders and thinkers have pondered how to maintain a shared sense of peoplehood — especially in open societies where assimilation and secularism were not only possible but often encouraged. Many Jews, particularly outside of Orthodox communities, experienced Jewishness as cultural, incidental, or even optional. The events surrounding October 7, 2023, shattered that assumption. What has become clear is that Jewish identity, whether embraced or ignored, is not something that can simply be set aside.
While Orthodox Jews may have always felt a strong and explicit sense of belonging to the Jewish people, the shift among secular and loosely affiliated Jews has been particularly striking. Individuals who once felt no sense of “otherness” have been forced to confront the reality that others see them as such.
A brief anecdote illustrates this shift. Recently, a customer of mine, who is otherwise completely secular, remarked to me during a routine conversation, “You know, Dan, I really didn’t realize how much people hate Jews. I’m honestly shocked by it.”
What had changed was not his theology or observance, but his awareness. He had come to recognize that his identity connected him to a broader people — and that this connection carried meaning, consequences, and responsibility. He indicated that while in the past he felt no particular affiliation, he now understood himself as part of something larger. The feeling of this man is not an isolated feeling; it is one that is shared by countless people. Out of his pain a reawakening occurred that will ultimately serve to preserve his Jewish identity.
When looking at the glass half full, one can take comfort from the phrase “what doesn’t kill you makes you stronger.” Jewish people have been quite literally forced to reinforce their connections and identification with their Jewishness. This has made the Jewish people stronger. It may be hard to see since people are still in the midst of it, but from 10,000 feet away and over the arc of time, this will become clear.
This observation does not, in any way, minimize the profound pain, grief, and suffering endured by victims, families, and communities. None of that is diminished here. But alongside the trauma exists another truth: a reawakened sense of peoplehood is real. This, too, is part of the Jewish story in this moment — and it deserves to be told.
Daniel Rosen is the co-founder of a non-profit technology company called Emissary4all, which is an app to organize people to move the needle on social media and beyond. He is the co-host of the podcast “Recalibration.” You can reach him at dmr224@yahoo.com