In the Jewish faith, the Kaddish is known as the “mourner’s prayer,” intended to memorialize the deceased and affirm their place in their families and within their communities. But among the horrors of the Holocaust emerged some devastating practical problems: The names of the dead were too numerous to remember easily, and whole families were lost, leaving survivors with the difficult task of remembering them. François Girard’s “The Song of Names” is constructed around a musical solution to this dilemma, but it’s . Sony Pictures Classics will appeal to older audiences for a rollout starting Christmas Day, but the film may have trouble standing out among an especially crowded awards-season slate.
Much of the anticipation surrounding “The Song of Names” is Girard’s return to the classical-music mystery of his 1998 hit “The Red Violin,” which followed a single instrument through four centuries, five countries and an assortment of linked narratives.
Much of the anticipation surrounding “The Song of Names” is Girard’s return to the classical-music mystery of his 1998 hit “The Red Violin,” which followed a single instrument through four centuries, five countries and an assortment of linked narratives.
- 9/9/2019
- by Scott Tobias
- Variety - Film News
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