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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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Israeli Security Cabinet to Discuss Possible Lebanon Ceasefire, Senior Official Says
Smoke rises after an Israeli strike on Beirut’s southern suburbs, following an escalation between Hezbollah and Israel amid the US-Israeli conflict with Iran, Lebanon. Photo: REUTERS/Mohamed Azakir
Israel’s security cabinet will convene on Wednesday to discuss a possible Lebanon ceasefire, a senior Israeli official said, more than five weeks into a war with Hezbollah that spiraled out of the US-Israeli conflict with Iran.
Israeli Prime Minister Benjamin Netanyahu’s security cabinet will meet at 8 pm (1700 GMT), the official said.
Senior Hezbollah official Ibrahim al-Moussawi told Reuters that diplomatic efforts by Iran and other regional states could produce a ceasefire soon, saying Tehran had used its blockade of the Strait of Hormuz as leverage.
Two other senior Lebanese officials said they had been briefed that efforts were underway for a ceasefire. One of them said the US had been pressuring Israel to work toward a ceasefire in Lebanon, including during rare talks between Israeli and Lebanese government envoys in Washington on Tuesday.
Israel’s offensive in Lebanon began on March 2 after the Iran-backed terrorist group Hezbollah opened fire at Israel in support of Tehran. It has killed more than 2,000 people and forced 1.2 million from their homes, according to Lebanese authorities. Most of those killed have been Hezbollah terrorists, according to Israeli tallies.
US President Donald Trump earlier said the war with Iran could end soon, telling the world to watch out for an “amazing two days,” while US forces imposing a blockade turned back vessels leaving Iranian ports.
On Tuesday, the United States hosted the first direct talks between Israel and Lebanon in decades. Israel had ruled out discussion of a ceasefire with Lebanon during those talks.
Trump has urged Israel to scale back attacks in Lebanon, apparently to avoid undermining the ceasefire with Iran.
Iran has said Israel’s campaign against Hezbollah in Lebanon must be included in any agreement to end the wider war in the Middle East. Washington has pushed back, saying there is no link between the two sets of talks.
The two Lebanese officials did not have details on when any ceasefire would begin or how long it would last. They said the duration would likely be linked to how long a truce between the United States and Iran holds.
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Trump Says Iran War ‘Close to Over’; Army Chief of Mediator Pakistan Arrives in Tehran
US President Donald Trump takes questions from reporters while Vice President JD Vance and Secretary of State Marco Rubio look on, as they attend a meeting with oil industry executives, at the White House in Washington, DC, US, Jan. 9, 2026. Photo: REUTERS/Kevin Lamarque
US President Donald Trump said the war with Iran was close to over, telling the world to brace for an “amazing two days,” as the army chief of mediator Pakistan arrived in Tehran in a bid to prevent a renewed conflict.
The diplomatic push came as US and Iranian officials weighed a return to Pakistan for further talks after negotiations there ended on Sunday without a breakthrough.
Pakistan‘s military confirmed Field Marshal Asim Munir had arrived in Tehran. A senior Iranian source told Reuters that Munir, who had mediated the last round of talks, was heading to Iran “to narrow gaps” between the two sides.
“I think you’re going to be watching an amazing two days ahead,” Trump told ABC News reporter Jonathan Karl, according to a post by the reporter on X, adding he did not think it would be necessary to extend a two-week ceasefire that expires next week.
“I think it’s close to over, yeah. I mean I view it as very close to over,” Trump said in an interview on Fox Business Network conducted Tuesday and broadcast Wednesday. “We’ll see what happens. I think they want to make a deal very badly.”
Officials from Pakistan, Iran, and Gulf states also said both sides could return to Islamabad in coming days.
The talks last weekend broke down without an agreement to end the war, which Trump launched alongside Israel on Feb. 28, triggering Iranian attacks on Iran‘s Gulf neighbors and reigniting a conflict between Israel and Iran-backed Hezbollah in Lebanon.
Trump‘s optimism lifted global stocks towards record highs. Oil prices – having fallen on Tuesday and in early Wednesday trade – were slightly up at around $95 per barrel, after the US said its blockade of Iranian ports had halted seaborne trade in and out of Iran.
TANKERS INTERCEPTED
The US military said it was turning back more vessels, including the US-sanctioned, Chinese-owned tanker Rich Starry which was seen heading back through the Strait of Hormuz on Wednesday.
A US destroyer stopped two oil tankers attempting to leave the Iranian port of Chabahar on the Gulf of Oman on Tuesday, a US official said.
An Iranian supertanker subject to US sanctions crossed the strait towards Iran‘s Imam Khomeini port despite the blockade, Iran‘s Fars News agency said on Wednesday. Fars did not identify the tanker or give further details of its voyage.
While Iran and the United States appear so far to have avoided a major confrontation at sea since the United States began its blockade on Monday, Tehran has said it would retaliate against military action.
Iran‘s joint military command warned it would halt trade flows in the Gulf, the Sea of Oman, and the Red Sea – which connects to the Suez Canal – if the US blockade continued.
Trump has also threatened to escalate if the war resumes. He told Fox Business Network: “We could take out every one of their bridges in one hour. We could take out every one of their power plants, electric power plants, in one hour. We don’t want to do that … so we’ll see what happens.”
RETURN TO ISLAMABAD
Trump told the New York Post on Tuesday that his negotiators were likely to return to Pakistan, thanks largely to the “great job” army chief Munir was doing to moderate the talks.
Speaking later at an event in Georgia, Vice President JD Vance, who led the US delegation at last weekend’s talks, said Trump wanted to make a “grand bargain” with Iran but there was a lot of mistrust between the two countries.
Iran‘s nuclear ambitions were a key sticking point at last weekend’s talks. The US had proposed a 20-year suspension of all nuclear activity by Iran – an apparent concession from longstanding demands for a permanent ban – while Tehran had suggested a halt of 3 to 5 years, according to people familiar with the proposals.
The head of the International Atomic Energy Agency, Rafael Grossi, said the length of any moratorium on Iranian uranium enrichment was a political decision and suggested Iran might accept a compromise as a confidence-building measure.
Washington has also pressed for any enriched nuclear material to be removed from Iran, while Tehran has demanded that international sanctions against it be lifted.
One source involved in the talks said back-channel talks had made progress in narrowing gaps, bringing the two sides closer to a deal that could be put forward at a new round of talks.
Complicating peace efforts, Israel has continued to attack Lebanon as it targets Iran-backed terrorist group Hezbollah. Israel and the US say that campaign is not covered by the ceasefire, while Iran insists it is.
Israel’s security cabinet will convene late on Wednesday to discuss a possible Lebanon ceasefire, a senior Israeli official told Reuters, after Israeli and Lebanese officials held rare talks in Washington a day earlier.
FALLOUT OF THE WAR
The war has prompted Iran to effectively shut the Strait of Hormuz – a vital artery for global crude and gas shipments – to ships other than its own, sharply reducing exports from the Gulf, particularly to Asia and Europe, and leaving energy importers scrambling for alternative supplies.
The oil market also faces further tightening, as the US does not plan to renew a 30-day waiver of sanctions on Iranian oil at sea that expires this week, according to US officials.
An estimated 5,000 people, civilians and combatants, have been killed in the fighting, including about 3,000 in Iran and 2,000 in Lebanon.
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A farewell to Hampshire College, site of my Yiddish awakening
Zay gezunt Hampshire College. That’s where as an undergrad student worker, I first studied Yiddish at the OG Yiddish Book Center of Amherst, Massachusetts, down the road from the genteel Lord Jeffrey Inn, across the street from uber-sensitive poet lady Emily Dickinson’s alte heym.
In nearby Holyoke, in an old mill turned Yiddish book storage loft, away from the genius of Dickinson’s dybbuk, I earned my way shelving the Book Center’s staggering amounts of the collected works of Sholem Aleichem — most likely purchased as a subscriber premium by turn of the century Forverts readers — and only surpassed by the unspeakable numbers of Yiddish volumes of Guy De Maupassant. I hoisted those onto shelves as well while getting educated about Nico and the Velvet Underground which blared from speakers. Back in the 1980’s that was multitasking.
And dayge nisht, no worries — I got my klezmer awakening there too, via a Walkman and audio cassettes while laboring as a photo history slide librarian for my advisor and favorite professor, filmmaker Abraham Ravett, who is set to retire next month (can you retire if your workplace closes?).
Splayed out across acres of stunning apple orchards that once belonged to the Stiles family, Hampshire College had neither a Hillel chapter nor a Chabad nor any organized sports nor fraternities — but there was a coed sauna, plenty of rolfing on the snow outside said sauna, a successful student run food coop, an acclaimed ultimate frisbee team and a beloved outdoor program that led to my first heron sightings just like in the movie On Golden Pond.
It also had Len Glick, Elvis’ former induction physician who co-taught modern Jewish history, along with his younger historian colleague Aaron Berman, whose office door was anointed with a poster that offered a Marxist view of baseball. It was 1984 and I was hot off seeing Streisand’s film version of Yentl. I’d polished off most of Bashevis’ tomes back home, memorized my Bubby’s photo album of Eastern European Jewry as envisioned in Visniac’s A Vanished World, and collided into Marlene Booth’s documentary about the Yiddishists of Raananah who took up space in an audacious dream of a utopian summer community in Orange County, New York. Tayere Leyener, dear reader, that’s all it took.
I knew my final paper was going to be about women and Yiddish. Well, I recall Len saying, if you want to investigate Bashevis’ inspiration for his Yentl and research women writers and women’s lives in Yiddish, you’re going to have to learn Yiddish; there isn’t much about that available in translation. Why don’t you go over to the Yiddish Book Center, he continued, and talk to them. And just like that, I found myself on the top floor of an old elementary school in Amherst, spending evenings learning Yiddish and my days trying to grasp enough of it to complete my assignment.
I’d love to tell you that just like Yentl, I too spent hours bent over tomes, deep in study, but as previously disclosed, Hampshire had much to distract and much to offer. And besides, I had books to shelve, boxes to unpack and roads to travel, joining the center’s trips to pick up YET MORE Yiddish books. My mazel was that Hampshire hosted the Book Center’s first summer seminars. Once longtime staffer Frieda Howards and I finished inspecting attendees’ dorm rooms, making sure the beds had hospital corners, I was warmly invited to attend lectures.
Hampshire hosted artists and activists like Yippie founder Abbie Hoffman. When Hampshire alum and Yiddish Book Center founder Aron Lansky talked about him, he highlighted all the Yiddish influences in Hoffman’s Steal This Book, as well as the Yiddish-inflected tensions of the Chicago 7 trials. All this came to a head when I met Yiddish lesbian poet, child survivor and hero to Jewish feminists Irena Klepfisz. A Bundist descendant, keeper of the flame, she — vu den — called a hastily gathered group into action. If we wanted Yiddish women’s writing to be translated, we were the translating liberators we were waiting for, so to speak. It was on us.
Tayere leyner/dear reader, I could, like so many Yiddish authors, go on in depth without so much as a break for a comma or a paragraph, such was the depth of my mazel at Hampshire. Ok, a bisl more. There was the weekend trip with Lansky and local poet and Book Center staffer Gene Zeiger to the Newport Folk Festival to hear Joan Baez sing. There was the summer Yiddish genius Naomi Seidman was a fellow at the Book Center — thanks to Seidman, that was my summer of Nico, the Velvet Underground, of reading Ginsberg’s “Howl,” and much much more. That was the summer I interned for the filmmaker Marlene Booth who was making a film about that Yiddish newspaper everyone talked about, the one I recalled picking up for my bubby. I spent time in my cooperative household on campus, bent over an audio transcription machine, typing out interview after interview with Forverts readers, spellbound by their love for it and activism on its behalf as it fell on hard times.
And reader, though Hampshire will likely close for good, you and I now know that if not for Hampshire College, where now upon a nice parcel of that former apple orchard sits the Yiddish Book Center in all its well earned koved, I and many like me, would not spend our days bending over our morgue of Forverts photos, back issues and more, reaching back over time to keep remembering our past and making it available for future generations.
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