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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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‘Brazen Attacks’: Antisemitism Turns Increasingly Violent in the West
CCTV footage of a Jewish man getting stabbed by an attacker in Golders Green area, which is home to a large Jewish population, in London, Britain, April 29, 2026, in this screengrab taken from a social media video. Photo: Social Media/via REUTERS
Across North America and Europe, antisemitism appears to be entering a new, more dangerous phase, with Jewish communities facing a growing wave of shootings, assaults, arson attacks, and violent intimidation even as overall incident totals in some countries begin to dip after the surge that followed Hamas’s Oct. 7, 2023, atrocities in Israel.
In Canada, early 2026 data already indicate the country is on track to see its most violent year against the Jewish community in recent memory, with more violent antisemitic attacks recorded so far this year than during all of 2025, according to the Jewish advocacy group B’nai Brith Canada.
In total, 11 violent antisemitic attacks have already been recorded across the country since the start of 2026, surpassing the 10 violent incidents documented during all of last year, when more than 6,800 antisemitic cases were reported nationwide.
“These brazen attacks on Jewish Canadians are a sign of a crisis of antisemitism that has spiraled out of control,” Simon Wolle, chief executive officer of B’nai Brith Canada, said in a statement.
“Violence such as this, which has escalated from targeting synagogues to targeting Jewish people directly, does not occur in a vacuum. It is what happens when governments fail to act despite mounting evidence that antisemitism is becoming more normalized and dangerous,” Wolle continued.
Last week, a group of Jewish worshippers standing outside the Congregation Chasidei Bobov synagogue in Montreal was targeted in a drive-by shooting, leaving one person with minor injuries.
A week earlier, three visibly Jewish residents were targeted in a separate antisemitic attack when suspects opened fire with a gel-pellet gun, causing minor injuries.
In the United States, overall antisemitic incidents declined in 2025, but violent attacks against American Jews remained at alarmingly elevated levels, according to the Anti-Defamation League (ADL).
In total, 6,274 antisemitic incidents — including assaults, harassment, and vandalism — were recorded across the country last year, averaging roughly 17 incidents every day.
While antisemitic assaults rose modestly by 4 percent to 203 incidents in 2025, attackers increasingly wielded deadly weapons, with such cases surging nearly 40 percent compared to the previous year.
According to the ADL’s recent report, this broader escalation was marked by the return of fatal antisemitic violence in the US, with Jewish victims killed in such attacks for the first time since 2019.
Last May, two Israeli embassy staffers were shot dead in Washington, DC, followed weeks later by a firebombing in Colorado that killed one person and left 13 others injured.
In Spain, an anonymous group has launched an interactive online map called “BarcelonaZ,” which its creators describe as a mapping of “Zionism” across Barcelona, prompting growing concern within the local Jewish community over an increase in targeted attacks and violence.
The interactive tool functions as a geolocated blacklist of Jewish, Israeli, or allegedly Israel-linked businesses and organizations, which its creators accuse of complicity in what they describe as a “genocide” in Gaza.
On the platform, each entry includes a business name, address, category, links, contact details, and political accusations, which Jewish leaders have denounced as resembling a modern-day “Nazi list.”
The map has intensified an already hostile climate in Spain, where reports of antisemitic harassment and violence have surged in recent months. In one of the latest incidents, an unknown individual attempted to set fire to a Jewish-owned pizzeria in Madrid while customers were still dining inside.
In the United Kingdom, Jewish communities have also faced a mounting wave of antisemitic violence, intimidation, and street-level harassment amid growing fears over public safety.
Recently, an increasingly popular antisemitic TikTok trend in London has led to arrests and convictions after young men filmed themselves using cash to mock and harass members of Orthodox Jewish communities.
Videos circulating on social media show young men walking through heavily Jewish areas of London carrying fishing rods with money attached to the line in an apparent attempt to “fish for Jews.”
In a separate incident over the weekend in Stamford Hill, north London, a man allegedly whipped several Haredi Jewish women with a belt before spitting at volunteer responders who arrived at the scene. Witnesses said he also shouted racist insults, antisemitic slurs, and threats at both the victims and the volunteers.
Hours later, in nearby Amhurst Park in north London, a Jewish child was allegedly assaulted outside a school after a woman screamed antisemitic insults and punched the minor.
These latest incidents come amid a wider surge in antisemitic violence in London, including the stabbing of two Jewish men in Golders Green — an attack that prompted the British government to raise the national terrorism threat level from “substantial” to “severe” for the first time in over four years.
Across the English Channel, three teenage boys assaulted a 14-year-old Jewish girl and threatened to kill her in the Parisian suburb of Sarcelles in March. The attack occurred weeks after a 13-year-old boy on his way to synagogue in Paris was brutally beaten by a knife-wielding assailant. France has seen several high-profile antisemitic attacks over the past year.
Meanwhile, the commissioner to combat antisemitism in the German state of Hesse sounded the alarm in January after an arson attack on a local synagogue in the town of Giessen, warning that it reflected a “growing pogrom-like atmosphere” threatening Jewish life across Germany. The environment has become so hostile that the Jewish community in Potsdam, a city just outside Berlin, fears it may not be safe to open a new Jewish daycare center amid growing security concerns.
In Ireland, the Jewish community has also reported a sharp rise in antisemitic incidents since the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023, with community leaders warning that violent threats and intimidation are becoming increasingly commonplace.
One Irish Jew said he and his wife no longer attend community events together out of fear that a mass-casualty antisemitic attack could leave their young son orphaned — a stark reflection of the deepening sense of insecurity gripping parts of Ireland’s Jewish community.
“If there were another community that felt that sense of siege and that they had to take steps to protect themselves in moments where they’re visible, I think there would be a sense of moral outrage about it,” Sunday Times journalist Jon Ihle told “The Claire Byrne Show.”
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Debating Zionism is fair. Protesting Israel’s president at commencement crosses the line
I am grateful for Noam Pianko’s recent essay, “Debating Zionism is good for Jews, actually.” Pianko argued that criticism of a small group of graduating seniors at the Jewish Theological Seminary who objected to JTS’s invitation to Israeli President Isaac Herzog to serve as this year’s commencement speaker was misguided, citing JTS’s long history of internal debates over Zionism.
I was among those critics. In a May 3 blog post for The Times of Israel I argued that even six students publicly opposing Herzog’s presence was six too many — not because Jewish institutions should avoid debate, but because there is a difference between debate premised on a shared commitment to Jewish peoplehood, and debate that rejects of one of Jewish peoplehood’s central expressions.
Pianko rightly reminds readers that JTS has never been ideologically monolithic. Its history includes tensions between tradition and change, particularism and universalism, theology and modernity. Those tensions are part of what has made JTS so influential in American Jewish life for nearly 140 years.
The history of debate over Zionism within the seminary’s intellectual culture does not weaken my concern. It sharpens it.
The crucial issue is conceptual precision. Expressions of skepticism about Zionism in earlier periods of JTS history were often very different from today’s anti-Zionism.
In some cases, they reflected a classical religious view that Jewish return and sovereignty would come through a messianic process rather than through human political action. That position was a theological claim about timing and agency, not a negation of Jewish national aspiration. In others, like Ahad Ha’am’s cultural Zionism, for example, an emphasis was put on Jewish renewal through language, spirit and civilization, while questioning whether political statehood should be the immediate or primary goal. That was an internal argument about how Jewish national life should unfold — not over whether such a life was valid.
Contemporary anti-Zionism, in contrast, frequently challenges the legitimacy of Jewish sovereignty itself. That is not simply another version of an older seminary debate. It is a different claim with different consequences.
To be clear, the students’ letter is not a simple declaration of anti Zionism, and it should not be caricatured as such. Their stated concerns include the devastation of the war in Gaza, the moral responsibilities of Jewish leadership, and the fear that honoring Herzog without sufficient public reckoning sends the wrong message about Palestinian suffering.
Those concerns deserve serious engagement. But seriousness also requires asking what this protest communicates in institutional context. At a moment when the Jewish people and Israel’s legitimacy are under intense assault, opposing the presence of Israel’s president at a flagship Jewish seminary risks turning anguish over Israeli policy into a symbolic rejection of Israel’s legitimacy as a central part of Jewish life. That is the line I believe JTS must be careful not to blur.
So while Pianko is right to highlight ideological range in JTS’s past, we should not flatten the past into the present.
Zionism did not become central to Jewish life by accident. It emerged as the primary vehicle through which the Jewish people reclaimed agency, safety and a collective future after centuries of vulnerability. The establishment of the state of Israel transformed Jewish existence. That fact does not erase earlier debates, but it does change the center of gravity.
Institutions like JTS have a responsibility to teach that complexity honestly — which Herzog’s presence at commencement, and thoughtful, well-informed debates around it, will help to do. Seminaries should expose students to the range of Jewish thought, including theological reservations, cultural critiques and internal disagreements about Zionism.
At issue is not whether the varieties and history of Zionism should be debated at JTS. Of course they should. Instead, this incident is a reminder that a flagship institution of Jewish learning can and should remain clear that Jewish peoplehood, Jewish sovereignty and the state of Israel are not peripheral to contemporary Jewish identity. They are central.
The post Debating Zionism is fair. Protesting Israel’s president at commencement crosses the line appeared first on The Forward.
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UK Man in Court Charged With Arson at Former London Synagogue
Orthodox Jews stand by a police cordon, after a man was arrested following a stabbing incident in the Golders Green area, which is home to a large Jewish population, in London, Britain, April 29, 2026. Photo: REUTERS/Hannah McKay
A British man charged over an arson attack at a former synagogue in east London last week was in contact with someone using an Iraqi phone number shortly before the fire, prosecutors told a London court on Tuesday.
Moses Edwards, 45, appeared in the dock at Westminster Magistrates’ Court and was remanded in custody until a further hearing next month. He gave no indication of any plea.
The fire at the former East London Central Synagogue was caused by wine bottles filled with an accelerant, which exploded damaging the outside of the building, prosecutors said.
The incident followed a series of arson attacks on Jewish targets in previous weeks, with police saying they were investigating possible Iran links to some of the fires.