Uncategorized
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.
—
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.
Uncategorized
Shabbat HaGadol and the Story of Elijah
A Torah scroll. Photo: Wikimedia Commons.
“Behold I will send you Elijah the prophet before the great awesome Day of God, and he will reconcile fathers to children and children to fathers” (Malachi 3:24).
This is part of the Haftorah for Shabbat HaGadol, the Shabbat before Pesach. But who exactly was Elijah? It is true that in terms of stature and his place in our tradition, he was the greatest of the prophets, even if no book is attributed to him. His public victory over the prophets of Baal during the reign of Ahab and Jezebel was his most famous triumph. But just as significant was the Chariot of Fire that took him up to Heaven when he died, which became the symbol of mysticism with which he was always associated.
In the Talmud, Elijah figures prominently in the debates about messianism and whether he was to be the messiah, or the pathfinder and precursor. Eventually, it was settled that Elijah would pave the way for a messianic era and instruct us what to do and what parts of our tradition would be revived or survive when it came about.
In the Talmud, there are many episodes in which Elijah is said to appear to rabbis and guide them, and he is associated with solving unresolved halachic issues.
Elijah has multiple associations with Pesach. The most obvious being when towards the end of the Seder, we dedicate the fifth cup of wine to Elijah, and we invoke his presence in asking God to remove our enemies.
Why is this fifth cup specifically Eliyahu’s?
Explanations range from the rational to the mystical. According to Maimonides, the coming of the messiah is a time in which oppression and hatred are removed, and we are free to explore our spiritual lives unimpeded. That’s the mystical.
Practically, there is a debate about if we should drink four or five cups of wine at the Seder. Those who advocate for four cups say it is done for the four terms used in the Torah to describe the process that gave us our freedom from slavery — “I freed you, I saved you, I redeemed you, I took you out.” But others believe “I brought you” counts as a fifth.
Are there four or five words, and should there be four or five cups?
The debate is left unanswered. Although we are obliged to have four cups of wine, we add an extra one just in case — and our tradition happened to dedicate that one to Elijah.
This year we have much to be sad about. So many beautiful young and not-so-young lives have been killed by our enemies. So many more lives have been injured or ruined. And yet there have been so many examples of deliverance, self-sacrifice, and heroism.
Is this the year the messiah will come? We can hope. But in the meantime, we have to do our best to reconcile and heal the chasms amongst us, and to come together to go forward united with pride and joy. Thank you, Eliyahu.
The author is a writer and rabbi based in New York.
Uncategorized
Unreported: Palestinian Authority Brags It Killed More Jews in Second Intifada Than Hamas
Palestinians, including children, celebrating the Second Intifada. Photo: Screenshot.
The Palestinian Authority Security Forces (PASF) had the largest number of terrorists in the Second Intifada, boasted a senior PA official.
PA Tulkarem District Governor Abdallah Kmeil bragged how the number of PASF members killed fighting Israel far exceeded the number killed by other terror organizations combined during the PA-led terror campaign of 2000-2005:
“Tulkarem District Governor Abdallah Kmeil: Let’s speak in a scientific language, in the language of numbers, which is the strongest language. There were 2,089 Martyrs from the [PA] Security Forces in the second Intifada … The Al-Aqsa Martyrs’ Brigades of Fatah had 632 Martyrs, the Al-Quds Brigades of the [Islamic] Jihad had 415 Martyrs, and the [Izz A-Din] Al-Qassam Brigades of Hamas had 378 Martyrs.”
[Tulkarem Governorate, Facebook page, Feb. 13, 2026]
By comparing PASF casualties to those of recognized terror groups, Kmeil showed that the PA Security Forces — who were trained and funded by the West to fight terror — were actually the leaders of Palestinian terror.
The Second Intifada was the PA-directed and controlled terror campaign, during which Palestinians carried out thousands of terror attacks, including suicide bombings on buses, in shopping malls, and on main streets, murdering more than 1,100 Israelis.
Last year, PA TV aired an interview with a PASF member jailed by Israel for terror offenses during the Second Intifada, who explained that the PASF “responded to this call” — to join the terror organizations in fighting Israel:
Released PA Security Forces terrorist prisoner Naji Arar: “I was a member of the Security Forces, of the security establishment. When we responded to the call of the homeland – we responded to this call through the Security Forces.
Do you remember the Al-Aqsa Intifada? The ones who resisted there were the Security Forces members, of course, in cooperation with our people and the factions.
I was arrested in Ramallah and sentenced to 18 years… It was shocking. But for Palestine, everything is insignificant. We were released… and met the security establishment through which we launched [our activity back then]. It welcomed us.”
[Official PA TV, Giants of Endurance, May 30, 2025 and Sept. 20, 2025]
Most importantly, the PASF leadership role in terror continues today unabated, as exposed in the June 2025 report by Palestinian Media Watch (PMW) titled “Terrorists in Uniform.”
In 2023, after calling the killing of 12 Israelis that year “acts of resistance,” Fatah-run Adwah TV reported that “the members of Fatah and the Security Forces form the core and the arms of the resistance [i.e., terror] groups in the West Bank, together with the other Palestinian factions.”
PMW has likewise documented Fatah honoring dead PASF members who were terrorists killed while attacking Israelis.
Therefore, Kmeil’s words were surely no slip of the tongue. They were a public expression of what the PA and Fatah know: that PA Security Forces members take a leading role in Palestinian terror, a role that is a source of pride, to be celebrated.
This is all the more reason why any talk of parts of Gaza being handed over to the PASF to police the Strip is misguided and unacceptable, since it would be simply replacing one terror group, Hamas, with another — PA Security Forces.
Itamar Marcus is the Founder and Director of Palestinian Media Watch (PMW). Ahron Shapiro is a contributor to PMW, where a version of this article first appeared.
Uncategorized
Three Months Into His Term, Mamdani’s Radicalism Rages
New York City Mayor Zohran Mamdani delivers a speech during his inauguration ceremony in New York City, US, Jan. 1, 2026. Photo: REUTERS/Kylie Cooper
This year’s news cycle is evolving at an unprecedented pace, making mere months feel like a lifetime in today’s political environment.
New York City Mayor Zohran Mamdani will soon hit 90 days in office, and the young politician has managed to fill his short time as leader of one of America’s most important cities with a litany of policies and positions that would make any anti-Israel Democratic Socialist proud.
Many left-leaning Jewish voters who cast their vote for Mamdani, believing that the ambitious, inexperienced mayor would be far too consumed with learning to manage the largest municipal budget in the country to indulge his anti-Zionist objectives, are now facing the consequences of their electoral choices.
Within minutes of taking office, the new mayor got to work signing several executive orders that removed critical protections for Jews, including revoking New York City’s adoption of the International Holocaust Remembrance Alliance’s (IHRA) working definition of antisemitism.
A surge in antisemitic attacks soon took hold, with hate crimes against Jews increasing 182 percent during Mamdani’s first month in office compared to the same period from the previous year. It’s hard to believe there is not some correlation between the two.
Mamdani displays no signs of retreating from his radicalism. On the contrary, he appears to be hardening his ideological, anti-Israel fixations, while using his platform to demonize the Jewish State.
It comes as no shock that the mayor — who refuses to condemn the slogan “Globalize the Intifada,” a rallying cry calling for the murder of Jews — is stacking his administration with leading anti-American figures, including appointing Ramzi Kassem, a lawyer who defended an Al-Qaeda terrorist and anti-Israel Columbia grad, Mahmoud Khalil, as Chief Counsel.
It’s also worth noting that Mamdani’s first three months as mayor coincided with the Islamic holiday of Ramadan.
The city’s first Muslim mayor could have used the nearly month-long observance period to promote interfaith dialogue or to channel the list of NYC functions commemorating Ramadan towards attaining his lofty promise to represent “all New Yorkers.”
Mamdani set the problematic tenor when he began Ramadan by being feted at an area mosque alongside Abudllah Akl, Political Director of the Muslim American Society of New York, who once called on Hamas to strike Tel Aviv, yet was granted the distinction of introducing Mamdani earlier this month.
Days after deliberately stoking confusion by refusing to denounce Islamic terrorism after two Muslims attempted to carry out a terror plot in front of Gracie Mansion on March 7, the mayor and his equally (and proudly) anti-Israel wife, Rama Duwaji, hosted Mahmoud Khalil and his spouse for an Iftar meal.
The released photo of the foursome dining together was appropriately dark, and accurately captured the unsettling moment in which Jewish New Yorkers now find themselves.
While Mamdani’s mayoral reign is still in its infancy, it’s clear that his Islamic roots (including a father who notoriously hates the Jewish State) and his animosity for Israel will blanket much of his rhetoric and decision-making.
Jewish New Yorkers are not only reckoning with a mayor whose destructive agenda fails to dent his popularity, but the city’s Jews must also accept the fact that Mamdani’s radical ideology gained purchase with neighbors, coworkers, and friends who ultimately comprised the mosaic of the nearly 50 percent of voters who propelled him to victory.
The Democratic Party’s energy now lies with its antisemitic activist base, as more liberal politicians, once considered so-called “moderates,” publicly flex their anti-Israel bona fides.
Eyeing the dynamic unfolding in New York City, several 2028 Democratic Presidential hopefuls are distancing themselves from previously held positions supporting Israel’s right to exist and praising its pluralistic society.
Having traveled to Israel shortly after the October 7, 2023, terrorist attacks in an act of solidarity, California Governor Gavin Newsom recently stated that he has never taken money from the American Israel Public Affairs Committee (AIPAC) and, drawing inspiration from Mamdani, likened Israel to an “apartheid state.” Newsom has since walked those comments back, but it’s clear in what direction he — and the party — are heading.
Newsom is no outlier in his lurch to the anti-Israel left, and pro-Israel Democrats seeking to engage constructively with politicians once thought to be their ideological allies may soon find that they have no pivotal part to play in a party once thought to be their political home.
Mamdani was always transparent about his disdain for Israel.
No longer restrained by the campaign guardrails, the mayor has grown bolder in his statements and actions.
Whether it’s breaking bread with activists who openly celebrate the slaughter of Jews or creating antisemitic spaces within government-run entities, Mamdani’s anti-Jewish agenda has only been strengthened over the last three months.
His political ambitions will not stop at New York City’s doorstep.
Mamdani is leveraging his popularity and easing the path for Democrats across America to follow his lead.
Irit Tratt is a writer residing in New York. Follow her on X @Irit_Tratt.