Ain't Them Bodies Saints


1h 45m 2013

Film Details

Also Known As
Amor Fora da Lei, En un lugar sin ley, Les Amants du Texas, Texas love story, A, Texs love story, Ölümsüz Ask
MPAA Rating
Release Date
2013
Production Company
Edgeworx ; Film Finances, Inc. ; Gray Krauss Sandler Des Rochers LLP ; Great Northern/ Reiff & Associates (Ny) ; Hollywood Caterers ; IFC Films ; Indieclear ; Lagniappe ; Paradox Entertainment, Inc. ; Parts And Labor ; Pivotal Post ; Primary Wave Entertainment ; Primary Wave Entertainment ; Reiff & Associates ; Sailor Bear ; Skywalker Sound ; The Weinstein Company ; The Weinstein Company ; The Weinstein Company ; Upload Films
Distribution Company
IFC Films; Ascot Elite Entertainment Group ; BTeam ; Benelux Film Distributors ; Diaphana Distribution ; Golden Village ; IFC Films ; IFC Films ; IFC Films ; Nonstop Entertainment (Nse) ; Paris Filmes ; Ster-Kinekor ; The Works
Location
Shreveport, Louisiana, USA

Technical Specs

Duration
1h 45m

Synopsis

Crew

Joe Anderson

Camera

Joe Anderson

Director Of Photography

Joe Anderson

Assistant Camera

Tim Antwine

On-Set Dresser

Brooke Arata

Production Assistant

Allyn Ary

Driver

Jamieson Baker

Assistant

Robert Ogden Barnum

Executive Producer

Robert Ogden Barnum

Co-Executive Producer

Brad Bell

Music

Kent Jude Bernard

Production Assistant

Pascal Besse

Chef

Robin K Bird

Makeup Artist

Steve Bissinger

Sound Effects Editor

David Blood

Photography

Vicky Boone

Casting Director

Angela Boulet

Assistant Property Master

David Brink

Assistant Camera

Annell Brodeur

Wardrobe

Annell Brodeur

Costumes

Charles Brown

Song Performer

Chuck Brown

Song Performer

Quinn Brown

Adr

Mark Burg

Executive Producer

Meredtih Burke

Wardrobe

Danny Caccavo

Sound

Lindsay Carlson

Production Coordinator

Lindsay Carlson

Visual Effects

Davie Carothers

Assistant Camera

Mindi Carter

Medic

Travis Carter

Driver

Dustin Cawood

Sound Editor

Dore Cermak

Set Costumer

Ai- Wei Chang

Soloist

Peter Chesney

Special Effects Foreman

Alessandro Chimento

Office Production Assistant

Andrew Jason Clark

Grip

Nicole Compas

Legal Counsel

Andrei Constantinescu

Extras Agent/Coordinator

John Craigmile

Post-Production Accountant

Catherine Creedon

Production Coordinator

Parry Creedon

Unit Production Manager

Thomas Culpepper

Driver

Bonnie Curtis

Sound

Tomas Deckaj

Assistant Director

André Des Rochers

Legal Counsel

Steve Dietl

Still Photographer

Paul Donaubauer

Driver

Annika Donnen

Music

Laine Dubroc

Stand-In

Randy Duplechine

Driver

Edmund Earle

Visual Effects

David Easley

Grip

David Easley

Generator Operator

Lance Elizondo

Soloist

Lance Elizondo

Song Performer

Sam Ellison

Assistant Camera

Cassian Elwes

Producer

Christian Epps

Gaffer

Brooke Estrada

Production Assistant

Brian Evans

Production Accountant

Jamie Ezell

Driver

Chris Farfan

Camera

Jonathan Ferrantelli

Post-Production Supervisor

Ben Foster

Song Performer

Ben Foster

Song Performer

Fernando Fregoso

Chef

Ryan J Frias

Sound

Phil K Frost

Driver

Andrea Gard

Sound

Joe Gawler

Colorist

Rachel Geary

Makeup

Leah Gibson

Soloist

Shelby Gillen

Art Department Coordinator

Tommy Goodwin

Stunt Coordinator

John Graney

Song Performer

Austin Green

Song Performer

Bianca Grimshaw

Legal Counsel

Jordan Gurren

Props

Lauren Haber

Executive

Jeff Halbert

Song Performer

Jeff Halbert

Adr

Toby Halbrooks

Unit Director

Toby Halbrooks

Producer

Roman Hankewycz

Camera

Dick Hansen

Sound Mixer

Gerald Hardy

Transportation

Daniel Hart

Music

Jade Healy

Production Designer

Curtis Glenn Heath

Song

Curtis Glenn Heath

Music Engineer

Curtis Glenn Heath

Song Performer

Kevin Hindley

Researcher

Evan Ho

Grip

Becki Howard

Soloist

Ali Hubbard

Production Assistant

Kendrick Hudson

Location Manager

Dave Isern

Camera Operator

Brooke Jagneaux

Assistant Camera

James Johnston

Producer

James Johnston

Unit Director

James M Johnston

Unit Director

Rudy Jones

Art Department

Zorinah Juan

Script Supervisor

Amy Kaufman

Producer

Allan Keffer

Assistant Camera

Jesse Kennedy

Executive Producer

Emmett Kerr-perkinson

Grip

Paul Knaus

Production Supervisor

Patrick M. Knickelbine

Editor

Lars Knudsen

Producer

Richard Krause

Titles

Lauren Kress

Hair

Aaron Kyle

Song Performer

Timothy Ladue

Assistant Director

Timothy Ladue

Assistant Director

Brooks Larsen

Assistant Editor

Charles Laurents

Electric

Logan Levy

Executive Producer

Betsy Lindell

Boom Operator

Andrew Lohrenz

Best Boy Electric

Bobak Lotfipour

Soloist

David Lowery

Screenplay

Mary Margaret Lowery

Titles

Carl Lundgren

Soloist

Alison Lyle

Craft Service

Fredrik Malmberg

Executive Producer

Andrew Mann

Co-Executive Producer

Andrew Mann

Co-Executive Producer

Chris Manning

Sound Effects Editor

Gary Mcclain

Driver

Craig Mckay

Editor

Amy Mcnutt

Caterer

Michael J. Menchel

Executive Producer

Mara Lee Miller

Song Performer

Rhonda Moore

Camera

Susan Muir

Other

Brent Mullins

Best Boy Grip

Caesar Nelmas

On-Set Dresser

John Nutt

Adr/Dialogue Editor

Michael Ortiz

Stunt Player

Robert Owen

Electric

Slaid Parker

On-Set Dresser

Henry Payne

Driver

Martin Pedersen

Sound

Krystal Phillips

Makeup

Jonathan Price

Song Performer

Jonathan Price

Song

Nancy Rankin

Hair

Steffin Ratlif

Song Performer

Beverly J. Reeves

Production

Katie Riggs

Special Effects Coordinator

Frank Rinella

Sound

Jane Rizzo

Editor

Jonathan Rudak

Art Assistant

Jonathan Rudak

Art Director

Jill Sager

Clapper Loader

Teddy W Sapp

Key Grip

Dick Saunders

Film Lab

Justin Scheidt

Production Assistant

Greg Schroeder

Song Performer

Cathy Shirk

Sound

Michael Sledd

Coproducer

Druscilla Smith

Assistant Production Coordinator

Ken Smith

Transportation Captain

Kent Sparling

Sound

Kent Sparling

Sound Designer

Mark C. Stevens

Assistant Director

Mark Stevens

Assistant Director

Mark Stevens

Stunt Player

Tommie Strawther

Hair Stylist

Anita Sum

Line Producer

James Talambas

Song Performer

Hirotatsu Taniguchi

Set Production Assistant

Alex Terzieff

Stunt Coordinator

Heather Test

Soloist

Nick Thurlow

Co-Executive Producer

Jennifer Tillery

Wardrobe Supervisor

Andrew Tinker

Song Performer

Andrew Tinker

Song

Zak Tucker

Camera

Malgosia Turzanska

Costume Designer

Jay Van Hoy

Producer

Angel De La Vina

Production Assistant

Brooke Wadlington

Stand-In

Brooke Wadlington

Wardrobe

Daniel Wagner

Executive Producer

Tom Walker

Props

Tom Walker

Art Director

Kolie Wegner

Assistant Production Accountant

Bob Weinstein

Executive Producer

Harvey Weinstein

Executive Producer

Evan Weiss

Soloist

Vincent F Welch

Assistant Editor

Andrew Wert

Property Master

Hunter Wert

Props

Brian Whelan

Song Performer

Sterling Wiggins

Assistant Camera

Adam Willis

Set Decorator

Daryl Wilsford

Payroll Accountant

Film Details

Also Known As
Amor Fora da Lei, En un lugar sin ley, Les Amants du Texas, Texas love story, A, Texs love story, Ölümsüz Ask
MPAA Rating
Release Date
2013
Production Company
Edgeworx ; Film Finances, Inc. ; Gray Krauss Sandler Des Rochers LLP ; Great Northern/ Reiff & Associates (Ny) ; Hollywood Caterers ; IFC Films ; Indieclear ; Lagniappe ; Paradox Entertainment, Inc. ; Parts And Labor ; Pivotal Post ; Primary Wave Entertainment ; Primary Wave Entertainment ; Reiff & Associates ; Sailor Bear ; Skywalker Sound ; The Weinstein Company ; The Weinstein Company ; The Weinstein Company ; Upload Films
Distribution Company
IFC Films; Ascot Elite Entertainment Group ; BTeam ; Benelux Film Distributors ; Diaphana Distribution ; Golden Village ; IFC Films ; IFC Films ; IFC Films ; Nonstop Entertainment (Nse) ; Paris Filmes ; Ster-Kinekor ; The Works
Location
Shreveport, Louisiana, USA

Technical Specs

Duration
1h 45m

Articles

Ain't Them Bodies Saints on Blu-ray


Set somewhere between the Great Depression and seventies recession in rural Texas, where time hasn't stopped so much as rusted to a crawl, David Lowery's Ain't Them Bodies Saints plays like the cinematic answer to an outlaw folk song.

Rooney Mara and Casey Affleck play lovers Ruth and Bob, young adults who grew up fast under the watch of a dubious father figure (Keith Carradine) and ended up as small-time hold-up cowboys with a pick-up in place of a horse. Their world is sketched in with impressionistic snapshots, a mix of romantic hope and a doomed trajectory that ends in a shoot-out in an abandoned shack that looks like it's been standing since the end of the old west, a prison term for Bob, and Ruth raising their daughter as a single mother, looked after by Skerrit (the shady but paternal retired outlaw played by Carradine) and looked in on by the lovesick policeman (Ben Foster) wounded in the shoot-out. He may or may not know the truth about who really pulled the trigger but he nonetheless still moons over Ruth and dotes on her daughter. It's a delicate equilibrium that threatens to teeter over when Bob escapes lockup, sneaking back into home territory but staying on the outskirts. Because if there's one thing law enforcement knows, it's that Ruth means more to him than life itself. He's written her every day he's been in prison.

Ruth and Bob are no Bonnie and Clyde--they aren't ruthless criminals as much as kids born to the outlaw way of life in a culture without many alternatives--and Ain't Them Bodies Saints isn't above heists and crime sprees. It's a character piece about the foolish things people do for love, directed from a script that plays as if all the exposition has been edited it. Affleck's drawling, mumbling Bob is the richest character he's played in years, a guy with hard-won survival instincts driven by emotion over calculation. He's not escaping from prison so much as escaping to Ruth and his daughter, the only things that matter to him, and there is a ferocity under his sleepy-eyed manner. Mara's Ruth has given up reckless love for the pragmatisms of motherhood, haunted by her love for Bob but cleared-eyed about the hopelessness of any future together.

This is the second feature from director David Lowery but his first with professional actors and a budget of any size and he uses it to create a film of mood and texture. In addition to directing movies, Lowery has been a film editor for fellow indie directors and his vita includes some of the most impressive low-budget American indies of the past couple of years, including Shane Carruth's enigmatic Upstream Color, which also emphasizes texture and tone and the immediate experience over exposition and backstory.

Lowery doesn't provide any specifics as to time or place, just suggestions in the rural landscape, the half-abandoned towns of aging, unkempt buildings, the makes and models of the cars, and the absence of modern electronic technology. This is a world of jukeboxes and car radios, incandescent light bulbs and rabbit ears on little TV sets. Lowery has an attention to tone and atmosphere, to the nowness of the moment, letting it all settle into the image and the narrative, while the quality of light (from the magic hour exteriors to interiors lit by hurricane lamp and incandescent bulbs) warms the film while coloring it like a yellowed memory.

Comparisons to Terrence Malick are not misplaced, but this has more in common with Altman's Thieves Like Us than Badlands. Bob is both a wild kid and cold killer and Ruth is the devoted mother and lover balancing her heart's desire with her realist's understanding of how his desperate prison escape is destined to end. For all the poetry of his filmmaking, this isn't a romance of outlaw innocents on the run. This life doesn't offer happy endings, but these people do have a kindness and compassion under their desperation that makes the effort worthwhile.

On Blu-ray and DVD from IFC Films. It's a gorgeous film and the Blu-ray preserves those burned, aged, sun-burned colors of the days and the deep black hole of night in this rural outpost. Both editions also feature a documentary, deleted scenes, teasers, trailers, and a music video among the supplements, but the most impressive bonus is Lowery's debut feature St. Nick, never before released on disc. The story of two young runaways, an unnamed young brother and sister living in an abandoned house in a rural Texas landscape similar to Saints, it is intimate and delicate and uneasy, a film that refuses to spell out the backstory and simply observes their tenuous existence on the margins of society, scavenging food and making up games to occupy their days until they are inevitably found and reclaimed by the society they left behind. St. Nick played a few film festivals but never received a theatrical release. This is the first opportunity most people will have to see it and it makes a lovely companion piece to Ain't Them Bodies Saints.

By Sean Axmaker
Ain't Them Bodies Saints On Blu-Ray

Ain't Them Bodies Saints on Blu-ray

Set somewhere between the Great Depression and seventies recession in rural Texas, where time hasn't stopped so much as rusted to a crawl, David Lowery's Ain't Them Bodies Saints plays like the cinematic answer to an outlaw folk song. Rooney Mara and Casey Affleck play lovers Ruth and Bob, young adults who grew up fast under the watch of a dubious father figure (Keith Carradine) and ended up as small-time hold-up cowboys with a pick-up in place of a horse. Their world is sketched in with impressionistic snapshots, a mix of romantic hope and a doomed trajectory that ends in a shoot-out in an abandoned shack that looks like it's been standing since the end of the old west, a prison term for Bob, and Ruth raising their daughter as a single mother, looked after by Skerrit (the shady but paternal retired outlaw played by Carradine) and looked in on by the lovesick policeman (Ben Foster) wounded in the shoot-out. He may or may not know the truth about who really pulled the trigger but he nonetheless still moons over Ruth and dotes on her daughter. It's a delicate equilibrium that threatens to teeter over when Bob escapes lockup, sneaking back into home territory but staying on the outskirts. Because if there's one thing law enforcement knows, it's that Ruth means more to him than life itself. He's written her every day he's been in prison. Ruth and Bob are no Bonnie and Clyde--they aren't ruthless criminals as much as kids born to the outlaw way of life in a culture without many alternatives--and Ain't Them Bodies Saints isn't above heists and crime sprees. It's a character piece about the foolish things people do for love, directed from a script that plays as if all the exposition has been edited it. Affleck's drawling, mumbling Bob is the richest character he's played in years, a guy with hard-won survival instincts driven by emotion over calculation. He's not escaping from prison so much as escaping to Ruth and his daughter, the only things that matter to him, and there is a ferocity under his sleepy-eyed manner. Mara's Ruth has given up reckless love for the pragmatisms of motherhood, haunted by her love for Bob but cleared-eyed about the hopelessness of any future together. This is the second feature from director David Lowery but his first with professional actors and a budget of any size and he uses it to create a film of mood and texture. In addition to directing movies, Lowery has been a film editor for fellow indie directors and his vita includes some of the most impressive low-budget American indies of the past couple of years, including Shane Carruth's enigmatic Upstream Color, which also emphasizes texture and tone and the immediate experience over exposition and backstory. Lowery doesn't provide any specifics as to time or place, just suggestions in the rural landscape, the half-abandoned towns of aging, unkempt buildings, the makes and models of the cars, and the absence of modern electronic technology. This is a world of jukeboxes and car radios, incandescent light bulbs and rabbit ears on little TV sets. Lowery has an attention to tone and atmosphere, to the nowness of the moment, letting it all settle into the image and the narrative, while the quality of light (from the magic hour exteriors to interiors lit by hurricane lamp and incandescent bulbs) warms the film while coloring it like a yellowed memory. Comparisons to Terrence Malick are not misplaced, but this has more in common with Altman's Thieves Like Us than Badlands. Bob is both a wild kid and cold killer and Ruth is the devoted mother and lover balancing her heart's desire with her realist's understanding of how his desperate prison escape is destined to end. For all the poetry of his filmmaking, this isn't a romance of outlaw innocents on the run. This life doesn't offer happy endings, but these people do have a kindness and compassion under their desperation that makes the effort worthwhile. On Blu-ray and DVD from IFC Films. It's a gorgeous film and the Blu-ray preserves those burned, aged, sun-burned colors of the days and the deep black hole of night in this rural outpost. Both editions also feature a documentary, deleted scenes, teasers, trailers, and a music video among the supplements, but the most impressive bonus is Lowery's debut feature St. Nick, never before released on disc. The story of two young runaways, an unnamed young brother and sister living in an abandoned house in a rural Texas landscape similar to Saints, it is intimate and delicate and uneasy, a film that refuses to spell out the backstory and simply observes their tenuous existence on the margins of society, scavenging food and making up games to occupy their days until they are inevitably found and reclaimed by the society they left behind. St. Nick played a few film festivals but never received a theatrical release. This is the first opportunity most people will have to see it and it makes a lovely companion piece to Ain't Them Bodies Saints. By Sean Axmaker

Quotes

Trivia

Miscellaneous Notes

Expanded Release in United States August 23, 2013

Limited Release in United States August 16, 2013

Released in United States 2013

Released in United States on Video December 24, 2013

Released in United States 2013 (New American Cinema)

Released in United States 2013 (Summer Showcase)

Released in United States 2013 (U.S. Dramatic Competition)

Limited Release in United States August 16, 2013 (New York & Los Angeles)

Expanded Release in United States August 23, 2013

Video on Demand in United States August 23, 2013

Video on Demand in United States August 23, 2013

Released in United States on Video December 24, 2013