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As long as there are movies about Nazis, there will be movies about the art they looted
Early on in Pascal Bonitzer’s film Auction, Andre (Alex Lutz). a self-serving and sleazy art dealer, is placating a condescending, cruel, and racist art owner. “You have to stop at nothing for a sale,” he tells his intern.
The French film vividly brings to life the deceptive and hypocritical high-stakes world of prestigious art dealers operating in a Parisian universe of money grubbing and bad faith.
Based on a true story, it recounts what transpired in 2005, when a major work by Expressionist artist Egon Schiele, “Wilted Sunflowers,” was discovered in a home in a suburb of Mulhouse, France.
The 1914 painting originally belonged to the Jewish Austrian collector Karl Grunwald and had last been seen in public at the Jeu de Paume in Paris in 1937. In 1938 Grunwald fled Vienna for Paris, saving as many paintings as he could in a storage unit. They were ultimately looted and auctioned off.
Grunwald made it to America, while his wife and children were killed in concentration camps. For the rest of his life he futilely tried to recover his stolen paintings. Following his death in 1964, one of his sons persevered in his late father’s pursuit.
Bonitzer places the Schiele in the home of Martin (Arcadi Radeff) a highly moral, arguably sentimentalized, young factory worker who has no idea of its monetary value or backstory. Concepts of “provenance” are alien to him; he could use some money and just wants to do the right thing. So do the rightful heirs.
The whole story ends on a positive note as the painting gets sold at auction and the young worker is given an equal share in the sale.
It is estimated that more than 600,000 paintings, decorative items and other aesthetically and culturally valued items were summarily stolen from Jews during the War. Approximately, 100,000 have never been recovered.
Auction is only the latest in a long line of works centering on Nazi-looted art.
Perhaps the best known film in this sub-genre is 2015’s The Woman in Gold, which starred Helen Mirren as the patrician Maria Altmann, who works in tandem with her dogged attorney to retrieve six paintings by Gustav Klimt, one of which was a portrait of Maria’s aunt, Adele Bloch-Bauer I.
The Klimts were ripped off by the Nazis during World War II and exhibited in Austria at the Österreichische Galerie Belvedere until 2006. After a lengthy and byzantine legal battle, a number of the works were returned to the Altmann Family, which sold the Adele portrait for $135 million to Ronald Lauder who proudly displays the work in his Neue Galerie.
It would seem axiomatic that any stolen art should be restored to its original owners or, more usually, their heirs. For some, however, it’s a grayer area filled with moral and legal questions, starting with how the work was obtained. Was it purchased in good faith? If the current owners(let’s add “s”) truly didn’t know its origins should they be allowed to keep it? If not, how much compensation, if any, should they receive?
And, more broadly, who should own great art — a private collector or a museum? Doesn’t the public have a right to see great art? Wouldn’t it be better for a museum to have and display the work rather than a family who may hide it in its basement?
One of the most interesting elements in the “Gold” story, which was also addressed in the documentaries Adele’s Wishes and Stealing Klimt was the Austrian government’s contention that Adele, who succumbed to meningitis in 1925, had in fact left the painting to her husband with the stipulation that when he died it would go to the Austrian gallery. Therefore it was rightly theirs.
But if the will existed — and that was debatable — was it legally binding since Adele’s husband was forced to flee the country in the wake of Germany’s annexation of Austria, which Adele had no way of anticipating? Her will, if there was one, was predicated on the idea that he would die at home and that his art collection would remain intact and in his possession when he passed.
The Rape of Europa, a comprehensive and detailed documentary on pillaged art also touches on the dilemma surrounding Adele’s portrait, but it places the crime in a wider context, considering the questions that emerge when one country or culture appropriates the art of another. Still, it makes clear that the most egregious example is the Nazi seizure of Jewish art.
Much of the art in question, modern, abstract and acclaimed by the likes of Picasso, Kandinsky, Klee, much of it owned by Jewish collectors, fell into the category that Hitler dubbed “degenerate,” which gave him the opportunity to further dehumanize those owners. Most of the paintings were destroyed while others were sold for enormous profits in order to underwrite a massive build up of armaments for the Third Reich.
The documentary, The Portrait of Wally, is a searing indictment of MoMA and other major American art institutions that supported MoMA in a less-than-exemplary 1997 episode.
The film recounts the brouhaha surrounding Egon Schiele’s painting of his mistress Wally, owned by Lea Bondi, a Jewish Austrian art dealer before it was grabbed by the Nazis in 1939.
Prior to landing at MoMA it was housed in Rudolph Leopold’s Austrian museum. Leopold was a classic double dealer, pretending to be on the side of the original owners and their heirs when in fact he had no intention of handing over the painting.
But when the painting was on loan to MoMA, the Bondi heirs demanded that it be returned to them. Rudolph refused, which led to a 13-year criminal investigation launched by New York District Attorney Robert Morgenthau, during which time the painting was held by the United States government.
According to the film, MoMA and other art institutions sided with Rudolph because they were afraid that aligning themselves with the Jewish family would mean that museums across the globe would no longer lend their works to American museums for fear that they might potentially lose their art or have to pay big bucks to have it returned.
Ultimately in 2010 the Bondi heirs prevailed. The Leopold Museum paid them $19 million for the painting’s return. That case succeeded in opening the floodgates to many others. And a surge of films on the topic followed.
Movies centering on Nazi-looted art have been around for decades, such as John Frankenheimer’s 1965 action thriller The Train starring Burt Lancaster; and 39 years later George Clooney’s The Monuments Men, both loosely inspired by factual events.
Set in 1944, shortly before the end of the war, The Train is a suspenseful and well-acted account of a French resistance fighter (Lancaster) determined to intercept a train carrying Nazi looted art from France to Germany without destroying the art.
Set in the same era, the starry Monuments Men, co-written and directed by George Clooney and featuring Clooney, Matt Damon, Bill Murray, and Cate Blanchett, among others, depicts a unit of historians and archivists on a mission to locate and salvage works of art across Europe before the Nazis had a chance to steal and destroy them.”
Despite the caliber of talent involved, e.g., the film was seen as problematic because of its failure to point out that many, if not most, of these art works had belonged to Jews and were brutally confiscated from the original owners, many of whom had been carted off to concentration camps to be killed.
Clooney and his Jewish co-writer said that their purpose was to explore not the experience of any one group but the profound significance of great art and the violation that’s perpetrated when it is stolen, or worse, destroyed.
Both Clooney and Frankenheimer’s films also touch on the moral quandary of whether a great painting is more valuable than a human life. If the risk to save the art is that high is it worth taking?
For me the most affecting film on lost art is Elizabeth Rynecki’s 2018 documentary Chasing Portraits, her freshman endeavor. Even though — perhaps precisely because — at times it feels more like a home movie than a professionally honed flick it reveals an emotional core that is unexpectedly moving.
Equally relevant, her film centers on paintings that were scattered after the War. They may or may not have been looted, but their fate was directly tied to the Nazi regime that forced Jewish residents to escape without their precious belongings.
Rynecki grew up surrounded by the art of her great-grandfather Moshe Rynecki, who was murdered at Majdanek in 1943. His evocative expressionistic works portray the day to day life of Polish Jews prior to the Holocaust. Of his estimated 800 works, 120 remain in Polish and Israeli museums and private collections abroad.
Throughout her life Rynecki had wanted to see these works, not to reclaim them, but to uncover how they ended up where they were. She serves as a historian and witness, her great grandfather’s art a link to her family and Jewish heritage and a world that is gone forever.
The film follows her as she travels from Canada to Poland and Israel where she is, by turns, regarded with suspicion or more usually snubbed outright. Many owners, some Jewish, cannot believe that she is not there for restitution. In one of the strongest scenes, a Polish collector, a gentile, wraps up and hands over to Elizabeth one of her great grandfather’s paintings, unsolicited.
It’s a story that lingers and will no doubt continue to inspire more documentaries and feature films. Just this week, The Guardian reported that the heirs of a Jewish couple are suing The Metropolitan Museum of Art in New York over a Vincent van Gogh painting they say was plundered by the Nazis.
‘Auction’ is currently screening in New York at Film Forum.
The post As long as there are movies about Nazis, there will be movies about the art they looted appeared first on The Forward.
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Most Europeans Consider Antisemitism an ‘Important’ Problem, Say Gaza War Influences Views of Jews: EU Survey
Anti-Israel protesters march in Germany, March 26, 2025. Photo: Sebastian Willnow/dpa via Reuters Connect
Over half of Europeans view antisemitism as a serious problem in their countries, with almost seven in ten saying the war in Gaza influences how Jewish people are perceived, according to a new European Union survey published this week as hostility toward Jews and Israelis across the continent shows no sign of easing.
Released on International Holocaust Remembrance Day, the European Commission’s Eurobarometer, which surveyed some 25,000 respondents, found that 69 percent of Europeans now believe that “conflicts in the Middle East” influence how Jewish people are perceived — up from 54 percent in a previous survey before the conflict.
The data also revealed that 55 percent of respondents consider antisemitism an “important” problem in their home country, with nearly half saying it has grown over the past five years and a large majority warning that hostility toward Jews in public places remains a serious concern.
Western countries, especially those with large Muslim-majority immigrant populations, expressed the greatest concern about rising antisemitism and were most likely to link it to Israel, revealing sharp differences across European Union member states.
For example, only 9 percent of respondents in Estonia said antisemitism was a problem, followed by Finland, Latvia, Malta, and Slovakia ranging from 16 to 21 percent.
However, 70 to 74 percent of respondents in countries such as France, Italy, Sweden, Germany, and the Netherlands saw antisemitism as a serious threat.
“Jewish culture is woven into the fabric of European history. We must protect and nurture this today and well into the future,” EU Commissioner for Internal Affairs and Migration Magnus Brunner said in a statement.
Today, Europe is home to nearly 30 percent of all Israelis living outside the country — roughly 190,000 to 200,000 people — with their population steadily increasing across the continent, according to a report from the Institute for Jewish Policy Research (JPR).
Yet governments and Jewish security organizations across the continent have documented a dramatic rise in anti-Jewish hate crimes since the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023.
Germany recorded more than 2,000 antisemitic incidents in 2024 — nearly double pre-Oct. 7, 2023, levels.
In the UK, the Community Security Trust (CST) — a nonprofit charity that advises Britain’s Jewish community on security matters — recorded 1,521 antisemitic incidents from January to June last year. This was the second-highest number of antisemitic crimes ever recorded by CST in the first six months of any year, following 2,019 incidents in the first half of 2024.
France presents a similar pattern. According to the French Interior Ministry, the first six months of 2025 saw more than 640 antisemitic incidents, a 27.5 percent decline from the same period in 2024, but a 112.5 percent increase compared to the first half of 2023, before the Oct.7 atrocities.
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‘You’re Disgusting’: University of Miami Sophomore Harasses ‘Students Supporting Israel’ Campus Group
Kaylee Mahoney, a University of Miami student and conservative influencer who verbally attacked Jewish students on campus on Jan. 27, 2026. Photo: Screenshot.
A sophomore and right-wing social media influencer at the University of Miami on Tuesday verbally attacked a Jewish student group, leading the school to defend free speech while saying that “lines can be crossed” in response.
“Christianity, which says love everyone, meanwhile your Bible says eating someone who is a non-Jew is like eating with an animal. That’s what the Talmud says,” Kaylee Mahony yelled at members of Students Supporting Israel (SSI) who had a table at a campus fair. “That’s what these people follow.”
She continued, “They think that if you are not a Jew you are an animal. That’s the Talmud. That’s the Talmud.”
Mahony can also be heard in video of the incident responding to one of the SSI members, saying, “Because you’re disgusting. It’s disgusting.”
Later, Mahony, whose statements were first reported by The Miami Hurricane student newspaper, took to social media, where she has more than 125,000 followers on TikTok, and posted, “Of course the most evil (((country))) in the world is filled with (((people))) who hate Jesus [sic].”
The “((()))” is used by neo-Nazis as a substitute for calling out Jews by name, which, given the context in which they discuss the Jewish people, could draw the intervention of a content moderator.
Mahony is the head of public relations for the university’s College Republicans and the head of social media for Turning Point Miami, according to her LinkedIn.
The Miami Hurricane reported that, until Tuesday evening, Mahony’s Instagram and Tiktok bios included “Proud Goy” — a term referring to non-Jews.
Students told The Miami Hurricane that Mahony also charged that “rabbis eat babies” while harassing SSI. Nonetheless, Mahony reportedly defended her conduct, saying, “Referencing the disgusting verses of the Talmud is not being antisemitic. Asking someone about the book that they use as their moral compass isn’t antisemitic.”
The Talmud, a key source of Jewish law, tradition, and theology, is often misrepresented by antisemitic agitators in an effort to malign the Jewish people and their religion.
However, the University of Miami did not mention antisemitism in its statement on the incident.
“The University of Miami is aware of the exchange that occurred between students Tuesday afternoon,” the school said in a statement. “We strongly support our students’ rights to freedom of expression. However, we understand lines can be crossed. As such, the university has proactive policies in place to ensure the safety and wellbeing of all students.”
The statement went on to say that the university “remains committed to maintaining a campus environment where every student feels safe, welcome, and supported.”
According to The Miami Hurricane, the College Republicans terminated Mahony’s membership in the club.
Tuesday’s incident comes as right-wing antisemitism is surging in popularity among conservative youth, seemingly in part due to the influence of online influencers such as Nick Fuentes, Candace Owens, and Tucker Carlson.
In September, a conservative magazine at Harvard University published an opinion piece which bore likeness to key tenets of Nazi doctrine, as first articulated in 1925 in Hitler’s autobiographical manifesto Mein Kampf, or My Struggle, and later in a blitzkrieg of speeches he delivered throughout the Nazi era to justify his genocide of European Jews.
Written by David F.X. Army, the article chillingly echoed a January 1939 Reichstag speech in which Hitler portended mass killings of Jews as the outcome of Germany’s inexorable march toward war with France and Great Britain. Whereas Hitler said, “France to the French, England to the English, America to the Americans, and Germany to the Germans,” Army wrote, “Germany belongs to the Germans, France to the French, Britain to the British, America to the Americans.”
Army also called for the adoption of notions of “blood, soil, language, and love of one’s own” in response to concerns over large-scale migration of Muslims into Europe.
In Nazi ideology, “blood and soil,” or Blut und Boden, encapsulated the party’s belief in eugenics and racial purity; the German “Aryans’” right to expand into Eastern Europe to amass new Lebensraum, or “living space”; and the transformation of the German peasantry into an agricultural class which stood in contrasts to Jews, many of whom lived in cities.
Meanwhile, antisemitic hate crimes have spiked to record levels across the US.
Earlier this month, Stephen Pittman, 19, allegedly ignited a catastrophic fire which decimated the Beth Israel Congregation synagogue in Jackson, Mississippi. After being arrested, Pittman confessed and told US federal investigators that he targeted the institution over its “Jewish ties,” according to court filings.
As he allegedly carried out the act, Pittman notified his father of it via text message, saying “I did my research.”
Follow Dion J. Pierre @DionJPierre.
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Anti-Israel Candidates for US Senate Boast Strong Polling Numbers in Michigan Democratic Primary
Mallory McMorrow, a Democrat running for US Senate in Michigan. Photo: Screenshot
Mallory McMorrow, a vocal critic of Israel’s war in Gaza and a candidate for the US Senate in Michigan, holds a narrow lead over the rest of the Democratic primary field, according to a new poll.
The Emerson College Polling/Nexstar Media survey shows McMorrow, a member of the Michigan state Senate, ahead of the pack with 22 percent of the vote. US Rep. Haley Stevens (D-MI) sits in second place with 17 percent of the vote. Abdul El-Sayed, a physician with an anti-Israel policy platform, holds a respectable 16 percent of the primary vote.
McMorrow’s lead over the field may spark consternation among supporters of Israel, whose defensive military campaign in Gaza has been characterized by McMorrow as tantamount to “genocide.”
Just days before the anniversary of Hamas’s Oct. 7, 2023, massacre across southern Israel, McMorrow called Israel’s response in Gaza a “moral abomination,” saying it was “just as horrendous” as the attack carried out by Hamas-led Palestinian terrorists, who perpetrated the deadliest massacre of Jews since the Holocaust.
However, in a recent interview, McMorrow indicated tentativeness over her previous condemnation of Israel, admitting that the word “genocide” has become a “purity test” among progressive activists in Democratic primaries.
“I am somebody who looks at the videos, the photos, the amount of pain that has been caused in the Middle East, and you can’t not be heartbroken,” McMorrow said during an interview earlier this month. “But I also feel like we are getting lost in this conversation, and it feels like a political purity test on a word — a word that, by the way, to people who lost family members in the Holocaust, does mean something very different and very visceral — and we’re losing sight of what I believe is a broadly shared goal among most Michiganders, that this violence needs to stop, that a temporary ceasefire needs to become a permanent ceasefire, that Palestinians deserve long term peace and security, that Israelis deserve long term peace and security, and that should be the role of the next US senator.”
Conversely, Stevens has established herself as the favorite among pro-Israel Michiganders. Stevens scored an endorsement from the Democratic Majority for Israel in November 2025. In a statement, DMFI praised Stevens as someone who has “stood firm against extremism, antisemitism, and efforts to undermine America’s alliances.”
Stevens has routinely touted her pro-Israel bona fides, vowing to stand beside the closest US ally in the Middle East despite mounting pressure by party activists to cut ties with the Jewish state. The lawmaker promised that if elected she would continue to support legislation which bolsters Israel’s security.
“As a proud pro-Israel Democrat, I believe America is stronger when we stand with our democratic allies, confront antisemitism and extremism, and keep our promises to our friends abroad and our working families here at home,” Stevens said in a statement. “In the Senate, I’ll keep fighting to protect our democracy, support Israel’s security, ensure the ceasefire holds in Gaza, and deliver for Michiganders in every corner of our state.”
El-Sayed, the most far-left candidate in the race, has been especially critical of Israel’s war in Gaza. On Oct. 21, 2023, two weeks after the Hamas-led slaughter of 1,200 people and kidnapping of 251 hostages in southern Israel, the progressive politician accused Israel of “genocide.” The comment came before the Israeli military launched its ground campaign in Gaza.
He also compared Israel’s defensive military operations to the Hamas terrorist group’s conduct on Oct. 7, writing, “You can both condemn Hamas terrorism AND Israel’s murder since.”
In comments to Politico, El-Sayed criticized Democrats’ handling of the Israeli-Palestinian conflict, arguing that they should become the “party of peace and justice” and said that they “ought not to be the party sending bombs and money to foreign militaries to drop bombs on other people’s kids in their schools and their hospitals.” He called on Democrats to stop supporting military aid for Israel, saying, “We should be spending that money here at home.”
Earlier this month, The Algemeiner reported that El-Sayed is facing scrutiny over his past fundraising and public support for a political advocacy group whose affiliates organized anti-Israel protests at Holocaust memorial sites in Washington, DC, and the Detroit metro area.