First scene : Rooney Mara walking fast, Casey Affleck is behind and is catching up. Everything about the movie already resounds in this symbolism. And not just in the background, in the form also. This sun that we see on the screen, which creates a beam of yellow/orange around the actors. It is beautiful, especially when the big plan comes on the two actors face-to-face. We quickly understand that the film will revolve around their love, and nothing more.

The displays, the pitch, the title and the trailer gave the water to the mouth. All sounds nastily like a replay of THE badlands from Terrence Malick. But it is not Terrence Malick who wants to. The latter mainly use the steadycam, which shows a great approach to the characters. Except that David Lowery has not the sensitivity of Terrence Malick, his camera shaking is most unpleasant.

With the director of the HARVEST OF the SKY, the characters have a connection to sensory in nature. It is not good to speak too often in search of the divine. But at least, the bodies of the actors are in relationship with nature. From David Lowery, filming of beautiful scenery, filming, natural light, filming in large spaces, filming places of interest by their color. But filming of the beautiful to make beautiful. Therefore, it makes for a beautiful aesthetic to entertain the eye of the beholder, while he listens to the chorus of abuse of the scenario.

Rooney Mara and a few scenes do catch up with an all too garish. Of the beautiful to make beautiful, a voltage absent, and a romance too smooth.

The light of the film does not stop at the beautiful plans are useless. But it extends on the personality of each character. Take the character of Rooney Mara, who is the only one to carry the film until the end (creating an interest to not leave the cinema) : an outlaw who is caught and becomes the mother of the family. Her husband in prison, she is then left alone with her child. She will learn quickly to fend for herself. The evolution of this character is fascinating. The strong personality of the early fall, but the character regresses ever. On the contrary, it gets stronger emotionally.

His character completely changes face, and Rooney Mara plays of wisdom. At the beginning, she showed herself as a young woman hard and strong. With the arrival of the child, the actress plays on the lightness, the fragility and restraint. His gaze changes, his attitudes, gestures become more soft. But most of all, David Lowery will rotate and position a color contrast in the lights on his actress.

Has its sides, we can be happy to see a Ben Foster who doesn’t play a psychopath. He proves that he can play a character sentimental. Its function of policing is anecdotal, a pretext for a reconciliation with the character of Rooney Mara. But now, Ben Foster is then the bare minimum. His movements and his attitudes are very calculated. A direction of the player too visible, where Ben Foster and fades into the background, like a poor actor in a film of intrigue.

And then there is Casey Affleck. Knowing the timbre of her voice, the facial expressions he has, we may wonder what he is doing in such a film. Far from being James Dean or Martin Sheen, he sinks into the caricature of the prisoner on the run, hides, goes to see his old friends, and reunited with his family at the end of the film. The director does wander in the wilderness, the place of blood in front of the sun, the food scene in the dark from time to time. But whatever, Casey Affleck has no charisma for his body and his voice to bring light to a dark and cruel grasp on his character.

Even Texas has not obtained its letters of nobility. The scenario, focusing too much on a romance at a distance, unable to make out the fever of such a place. All the same, the westerns are passed by the Texas. This film has only a few tasks here and there. Light, smooth and hollow in the movie (except for Rooney Mara, pillar masterful film) is felt in the contemplation, poetry and rhythm. A Bonnie & Clyde sentimental, monotonous, and deceptively beautiful.

But here, finished the coups foireux, hello to the real life. Lovers of Texas are, in fact, the ill-fated lovers. Especially, the narration in the form of progress towards a humanity, a lack of tension. Part of this lack is due to the aesthetics, of course. But also with respect to the axis taken by the director. A simple romance without danger, in addition to agreed upon. Because of this, the passage from savagery to a more human side is over. Substitute in thin screaming of references not successful.



Bob and Ruth love each other, towards and against all. And, importantly, against the law. One day, a robbery goes wrong and the two lovers are caught in a shoot-out. When Bob is taken away by the police, Ruth was just time for him to announce that she is pregnant. Since then, Bob has only one obsession : escape from prison to join his wife and child. But when he does, four years later, the dream corresponds poorly to the reality. On the run, pursued by the police and by gang members, Bob penalty to re-establish the link with his family. Ruth became the mother and she does not want a life on the run : being courted by a policeman attentive, the young woman must choose between the past and the future.

Original title : Ain t Them Bodies Saints

Achievement : David Lowery

Scenario : David Lowery

Main actors : Rooney Mara, Ben Foster, Casey Affleck

Country of origin : United States

Output : September 18, 2013

Duration : 1h30min

Distributor : Diaphana Distribution

Trailer :

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