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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.
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How the Forward got a cameo in ‘Marty Supreme’
“The challenging thing about any film, for me, is you’re trying to build these worlds, so you’ve got to find the elements,” said Jack Fisk, production designer for Marty Supreme, and regular collaborator with big names including Terrence Malick, Paul Thomas Anderson, David Lynch and Brian De Palma.
“We’re trying to piece together bits of reality to tell our story, and that look right for the period,” Fisk said in a Zoom conversation, the day Marty Supreme got a Best Picture, Musical or Comedy, nomination from the Golden Globes. “So the challenge is to find them, that you can get to them reasonably and within the day, and that will fit in your budget.”
Often the on-the-ground reality of the filming location inspires the scene, but sometimes it gets in the way and forces the art department to get creative. Both were the case in a blink-and-you’ll miss it moment in Josh Safdie’s epic of a schvitzer table tennis champ.
While shooting a scene on location at Seward Park on the Lower East Side, the original Forward Building, with its historic preserved façade, loomed in the background. It fit the film’s early 1950s setting, and the biography of Marty Reisman, the real ping-pong pro whose 1974 book The Money Player inspired the film, and who grew up on East Broadway and learned the game at the Education Alliance in the neighborhood.
“Josh told me that, you know, ‘That’s this Jewish newspaper, it’s been here forever’” said Fisk.
It was more than a bit of trivia from a lifelong New Yorker. It was a fix to a problem: modern street signs opposite the park, which were decidedly out of place but which the city wouldn’t bother removing for a one-day shoot.
So Fisk and his team, drawing inspiration from the locale, built a Forward delivery truck to block out the signs. He even recalls printing up some papers. The graphic artists relied on reference photos to reproduce the font — painting the cargo bed immediately after a period-appropriate truck arrived. Fisk thinks it may have still been wet on shooting day.
Every time Fisk entered a neighborhood for this New York shoot — his first since 1974’s Phantom of the Paradise, directed by De Palma — he looked for traces of the past to take advantage of. (In the case of Phantom, Fisk opted to use the Brooklyn building of the Pressman Toy Corporation— a Jewish-owned outfit known for manufacturing Chinese Checkers and the family firm of Hollywood producer Edward R. Pressman — as a prison instead of filming in a real jail; Fisk said all the ones he scouted looked “too nice.”)
Recreating the lost world of Marty Mauser, played by Timothée Chalamet, posed its own challenges.
Central to the film, if only briefly seen in the final cut, is Lawrence’s Broadway Table Tennis Club on 55th St. The building was demolished, but Fisk, together with producer Sara Rossein (who is also Safdie’s wife), was able to get hold of blueprints and black-and-white photos through tax records, government archives and a magazine feature. Rossein’s discovery of a 16mm piece of film clued Fisk in on the color palette.
Fisk got his start in film working for B-movie maven Roger Corman (“Every other page there was a bare breast or something,” he recalled of the scripts) so he is no stranger to improvising on a shoestring. In fact, he relishes it. On Marty Supreme, as maximalist a picture as Safdie has ever made, the budget — despite being reportedly the most-expensive A24 production yet at around $60-70 million — often creaked, calling for some creative problem solving.
There’s a scene where Marty volleys an apple into a bowl in a building across from his hotel room. There wasn’t money to retrofit the room in the window, so the period stove viewers see is an image printed from a plotter — a massive printer — pasted to the wall. Norkin’s Shoe Shop, where Marty works, was an actual location on Orchard Street, but the crew built modular units of the storefront so they could move the shots away from a modern-looking hotel recently built nearby.
While Marty Supreme is largely rooted in New York, with some detours to New Jersey, London and Tokyo, there’s a memorable sequence set at Auschwitz, as former world champion tennis pro Bela Kletzki (Géza Röhrig) recounts his life in the camp.
“It’s kind of horrible and challenging at the same time,” Fisk said of recreating a part of the death camp. “Everybody’s knowledge of Auschwitz and concentration camps really helped make the set.”
The dimly lit barracks were built inside a house that doubled as the set for a farm in New Jersey where Marty tries to retrieve a lost German shepherd.
Fisk said Röhrig, who starred in the Auschwitz-set film Son of Saul and converted to Orthodox Judaism after a visit to the camp, was excited for the scene. (Fisk noted that Röhrig is part of his longtime collaborator Terrence Malick’s upcoming film, The Way of the Wind, where the actor will play Jesus, possibly the first Orthodox Jew to embody that role on the big screen.)
Fisk’s work on Marty Supreme has been noted in nearly every review — even the rare pan in Time singled out his production as “the best thing about the movie” — but it’s technically not his only film this year.
Springsteen: Deliver Me from Nowhere shows the Boss watching Malick’s Badlands on his home television; the crime drama was the inspiration for the singer’s album Nebraska, the making of which is the crux of the biopic. Fisk is grateful Badlands is still resonating, as it marked the beginning not only of his most prolific collaboration, but was the set where he met his wife, Sissy Spacek.
While Fisk is a sought-after talent for the ambitious auteurs looking to wind back the clock — his most recent credit is Martin Scorsese’s Killers of the Flower Moon, for which he was nominated for his third Oscar — his most personal connection was with David Lynch, his friend since high school.
Lynch died in January, during the production of Marty Supreme. Fisk was in Japan working on one of the last scenes soon after his passing, and was gratified to see people hosting film festivals in diners in Lynch’s honor.
Marty Supreme is the first film Fisk has done with Safdie, and while it is a relatively early work (Safdie is just 41, though this film is his seventh feature, and his second without his brother, Benny), the veteran production designer was impressed by his enthusiasm and his attention to detail.
“I always tried to prepare myself so I have a little bit more detail than he asked, which is very hard to do,” Fisk said.
It’s that eye for minutiae — and the need to block out the blight of modernity — that paved the way for the Forward’s brief cameo. Fisk, for his part, likes the look of the Yiddish.
“It’s so graphic and beautiful and you can move it around,” Fisk said of the truck. “The camera’s gonna miss it, you can just back it up five feet to see it.”
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A Hanukkah menorah in the window for eight days? Try an Israeli flag for two years
There’s a robust online debate over whether Jews this year should publicly display their menorahs given the rise in antisemitism. Here’s my suggestion: Ask Elon Rubin.
Rubin owns Sundays Cycles, a custom bicycle shop in Santa Monica, California, that since Oct. 7, 2023, features a large Israeli flag in its window. Every time I drive down Main Street, passing boutiques, restaurants, nail salons and Pilates studios, I see that flag, draped inside several square feet of the glass storefront. It is meant to be seen.
“I’m an Israeli citizen,” Rubin told me when I met him at his store last month. “After everything that happened on Oct. 7, it was the least I could do.”
What drew me into the store was the simple, quiet defiance of Rubin’s decision, which stands in stark blue-and-white contrast to the constant, hand-wringing debate American Jews are engaged in over such symbols.
Those concerns bubble up to the surface like sufganiyot in hot oil around Hanukkah, when Jews are commanded to place their menorahs in windows so that they are visible to all.
The Talmud says the menorahs must be displayed to “publicize the miracle” of Hanukkah.
But more and more American Jews are worried — as their European Jews have been for many years now — about announcing their Jewishness to the outside world.
Some 42% of Jewish Americans report feeling unsafe wearing or displaying Jewish symbols in public since the Oct. 7, 2023, Hamas attack on Israel, and 40% have avoided doing so, up from 26% in 2023.
Those fears aren’t new, but they have risen as have antisemitic attacks, anti-Israel protests and online threats.
When I walked into Rubin’s spacious, hospital-clean bike shop, I asked if he shared those fears.
“There’s nothing to be scared of,” he said.
One look at Rubin and here’s the obvious rebuttal: That’s easy for you to say. The 46-year-old, born in Herzliya to an American mother and a father from Libya, came to the United States in 1998 and made a profession of his cycling obsession. He is shaved, muscled, tattooed and speaks in rapid, commanding sentences.
Over the years, numerous people have shouted at him from outside the store to take down the flag.
“I say, ‘Come in here, let’s have a conversation,’” he said. “Not a single person has come in.”
Other reactions have not been as passive. Graffiti reading “Free Palestine” has appeared on the store window, and vandals have thrown numerous eggs at the place. He’s had death threats on his phone messages, including, ”I hope you die Jew” and “Your days are numbered.”
His Yelp and Google review rankings have been tanked by malicious one-star reviews.
Last March, a Jewish anti-Israel activist, Medea Benjamin, entered his store and called the Israeli flag shameful.
“What about the genocide?” she asked Rubin.
“There is no genocide,” he said.
Her Instagram post of the incident, which racked up 127,719 likes, prompted a deluge of negative reports to Instagram about the bike shop’s account. Instagram suspended his account, Rubin said, and has yet to reactivate it.
“Ten years of organic growth, gone,” he said.
But Rubin said the flag has also generated support. “For every negative,” he said, “we’d probably get two or three positives.”
Israeli tourists detoured inside to meet Rubin and thank him. American Jews, and some non-Jews, told him they appreciated the show of support.
The oddest reaction, he said, are from Jews who have urged him to take the flag down because, they said, it incites hate.
“Like it’s the new swastika,” he said.
But Rubin evinces neither fear nor loathing.
He doesn’t have “blind support” for the current Israeli government, he said, but he loves his country. Just because someone flies the American flag doesn’t mean they support President Trump, he pointed out.
It’s true that the Israeli flag, the symbol of a country embodied in conflict, is not exactly comparable to a menorah, seen largely as a religious symbol. Congregations have been divided over whether to display it on the bimah, as some congregants found it loathsome.
But someone prone to attack Jews might not make the fine distinctions between a menorah, a flag with a Star of David, and a Star of David hanging around a child’s neck, or on a Torah ark. The lines between these symbols are often blurry, but so is the logic of people who attack others just for displaying them.
I asked Rubin if he ever, in the past two years, considered taking down the flag, lighting the menorah in the backyard, so to speak.
“So then what are you?” he said. “You’re a Jew in silence, you’re a Jew in secret.”
Symbols aren’t arguments. They demonstrate but rarely convince, and nuance is not their strong suit. But to Rubin, their power lies not in the message they send to others, but in what they say to ourselves.
“Together,” he said, “we have more strength than we realize.”
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He used to think Jewish athletes were a punchline; now, he wants to help them get a proper paycheck
My favorite joke in the 1980 comedy Airplane! is, by the standards of a movie featuring a glue-inhaling Lloyd Bridges and an inflatable toy autopilot, one of its subtler gags. A passenger asks a flight attendant for some light reading; in return, she receives a pocket-sized leaflet of “famous Jewish sports legends”.
The vicious canard (just kidding, we’ve been called worse) that the so-called people of the book are ill-at-ease on the court or the gridiron contains a kernel of truth, of course. There’s a reason nearly all Jews know the names Koufax and Spitz — there are few other Jewish sports stars to choose from.
But the rapid growth of the country’s first Jewish NIL initiative, Tribe NIL, would suggest that, in the collegiate ranks at least, such stereotypes are baseless; in barely a year, it has accumulated a roster of nearly 200 athletes.
NIL, which stands for name, image and likeness, allows student-athletes to profit off of their fame and success, most often via endorsement deals requiring commercials, public appearances, paid social media posts and the like. (Here’s Arch Manning, star University of Texas quarterback, flinging a football downfield while wearing *checks notes* Warby Parker glasses.)
Until 2022, however, college athletes were barred from receiving any form of compensation for their services. So NIL initiatives — organizations that help connect students with funding opportunities — are a relatively new phenomenon. Most of the organizations bring together student-athletes with a particular unifying characteristic, usually a connection to a school or region; for instance, the University of Alabama, a college football behemoth, has two NIL initiatives, Yea Alabama and The Tuscaloosa Connection.
But Tribe is unusual in that it is not organized around geography, but around culture.
So co-founders Moses and Eitan Levine lean on a different kind of network: The Jewish professional one. “There are inherent advantages that the Jewish community has,” Moses told me over a Zoom call.
“I always joke that Jewish nepotism is a good thing,” he added.
Virtually none of Tribe’s athletes are able to command lucrative sponsorship deals, which, under the NIL system, are reserved for the very best Division I athletes in the so-called “revenue sports” — football and basketball. A good number of Tribe’s roster, by contrast, are Division III athletes, and few are in football or basketball. They’re still better at their chosen sport than nearly all other human beings, yet not good enough to be recompensed financially.
“That’s a problem,” said Moses. “A D-III field hockey player who doesn’t have inherent NIL value is still working a full-time job. It’s crazy they don’t get any compensation.”
With Tribe, then, Moses imagined other kinds of compensation. “The question we’re asking,” he said, “is how can our athletes use their name, image and likeness to get where they want to be in five or 10 years from now?”
Tribe’s answer is to cultivate closer ties with a myriad of institutions, and with their Jewish stakeholders in particular, in hopes of securing sponsorships, internships and jobs for its growing list of charges.
“Say I’m a big Jewish law firm,” Moses told me, “and I want to show that I support Jewish athletes. What if I hired a bunch of Jewish athletes for my summer internships, and then give them each an extra $1000 to allow us to advertise them on our Instagram?”
Moses and Levine pocket a fee for each deal, on top of whatever the athlete receives. Take the law firm example: In such a scenario, both men would be paid, by the firm, for giving that office access to the athletes — for “making the introductions,” Moses said.
The simple fact these athletes are Jewish is not the sole reason firms would hire them, Moses emphasized. “Like, they have a degree, and a full-time job as a basketball player on top of that, right? They’ve shown a level of commitment.” But Jewishness, Moses believes, can provide the proverbial foot-in-the-door. And he wants Tribe to be the intermediary.
“I wouldn’t ever tell a kid like they should only rely on the Jewish community to network,” he said. “But it’s a silver platter right there for you, and I promise you, it’ll work out for you if you lean in.”
For the tribe, by the tribe
Tribe is the brainchild of comedy writers Jeremy Moses and Eitan Levine. The pair met while working on Amazon’s short-lived sports TV show, “Game Breakers,” where they created a segment called “This Week in Jews.”
The duo, Moses said, quickly bonded over their shared cultural and sporting interests. Moses had a Conservative rabbi for a father and used to work for the site My Jewish Learning. Levine has a sizable social media presence as a comedian, which he often used to highlight Jewish sporting achievements in ways both heartwarming and acerbic.
In 2024, almost by accident, Levine helped broker the most significant Jewish NIL deal yet: A partnership between Manischewitz, of Matzoh fame, and Jake Retzlaff, Jewish quarterback at Brigham Young University. (Retzlaff was dubbed, entirely appropriately, B-Y-Jew.) Levine had worked with Manischewitz on his webseries, When Can We Eat, while Retzlaff had been the subject of one of Levine’s Instagram videos; he played matchmaker and made the shidduch to introduce the brand to the athlete.
Naturally, the photographs of a smiling Retzlaff holding up Manischewitz’s Potato Latke mix did not escape the attention of other Jewish student-athletes. Levine was soon inundated with requests for further kosher NIL deals, Moses told me.
This took both men by surprise; after all, they too had always subscribed to the notion that Jewish athletes were hard to come by.
“Our first thought was, ‘How many Jewish college athletes are there?’” said Moses. He decided to carry out a survey of sorts. “I went on the UCLA Athletics website — because I needed a school with a large population, a large Jewish population, and tons of sports programs — and looked at last names. If I was 75% sure they were Jewish, I counted it.”
His survey was unscientific, to be sure — Moses was a Jewish studies major, not a statistician — but it was effective: He counted 25 names.
“I was like, ‘Wait, that’s just at one school!” he said.
Moses realized that Jewish student athletes, far from being under-represented, were punching above their weight relative to the overall population. Thus was born Tribe NIL.
Schmoozing to success
Tribe’s yichus-heavy approach is premised on what Moses sees as one of American Judaism’s most enduring traditions: Rooting for Jews in sports just because they’re members of the tribe, whether they’re on your favorite team or not.
Moses offered up a choice example about Max Fried, the Yankees’ excellent pitcher. “Maybe you’re not rooting for the Yankees to win, but you’re still proud that the starting pitcher for the other team is a Jew.”
He acknowledged, however, that such an approach could limit Tribe’s appeal. It would be harder to pull off a paid appearance at a local synagogue, say, or a Q&A with Jewish partners at a business — with a view to potential employment down the road — if the athlete in question doesn’t feel especially Jewish.
So the collective is aimed squarely, and solely, at “proud” Jews, Moses said. “If they’re not comfortable talking about being Jewish out loud, then this is not the organization for them.”
Both Moses and Levine are holding out hope that Tribe will be spared the debates over Israel’s conduct in Gaza, and over competing definitions of antisemitism and Zionism, that have roiled so many Jewish-American institutions. “We really strive to be an apolitical organization,” Moses said. “Because the one time Republicans and Democrats sit together is at a college football game.”
Still, the fairly well-established pathway from U.S. college sports to the Israeli professional ranks is one Moses hopes to exploit, and he’s not afraid of upsetting anyone. “We want to help American Jews play in Israel,” he said. “If this is a political statement, then it’s a political statement. But I don’t think it should be.”
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