A.J. Goldmann is a writer based between Munich and Berlin. His articles about European and Jewish culture have appeared in The Wall Street Journal, The New York Times, The Atlantic, The New Republic, and The Guardian.
A.J. Goldmann
By A.J. Goldmann
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Opinion Germany excels at restoring synagogues destroyed by the Nazis. But can they foster new Jewish life?
Munich's Reichenbachstrasse Synagogue shines again. But unless it hosts regular prayer, it’s just a museum with a bimah
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Film & TV How a complete unknown created one of the most iconic music events of the 1970’s
Ido Fluk's 'Köln 75' tells of the unlikely collaboration of jazz great Keith Jarrett and teenage concert promoter Vera Brandes
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Film & TV How an intimate and sensitive film about a hostage family’s grief triumphed in Berlin
In chronicling the story of the Beinin family, 'Holding Liat' grapples with personal and national trauma
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Culture Has Woody Allen ever told you how lucky he is?
With his 50th film, 'Coup de Chance,' the director shrugs off abuse allegations and returns once again to a theme that's been a constant throughout his career
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Film & TV How one Jewish woman’s crusade became the year’s most talked-about documentary
In 'All the Beauty and the Bloodshed,' artist Nan Goldin takes on the Sackler family
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Culture Eternally fascinated with Jewish culture, Wes Anderson delivers the best film of the year
This year’s Cannes Film Festival had its share of controversial titles, including a disturbing musical about a murderous comedian and a gorefest about a woman who has sex with cars and goes on killing sprees. But no other film at the festival inspired such heated discussion and debate as Wes Anderson’s long-awaited “The French Dispatch.”…
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Culture In the West Bank, confronting pain and oppression with humor and absurdity
“Let It Be Morning,” the latest film from Eran Kolirin, the Israeli director best-known for his 2007 comedy “The Band’s Visit,” is another gently absurd comedy with a majority Arab cast. The film, which had its world premiere in Un Certain Régard at the Cannes Film Festival, is about Sami, a Palestinian telecom executive, who…
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Culture A life with (and now without) Ronit Elkabetz
Israeli cinema had a banner year at the recently-concluded Cannes Film Festival — three films were featured in the official selection. Taken together, the Israeli entries formed a powerful triptych of the country’s society and culture. Nadav Lapid’s Jury-Prize-winning “Ahed’s Knee” was an incendiary critique of life as an artist. Eran Kolorin’s “Let It Be…
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