By Ray Pride Pride@moviecitynews.com

IFC FILMS TAKES U.S. RIGHTS TO DAVID LOWERY’S DRAMATIC COMPETITION TITLE AIN’T THEM BODIES SAINTS AT SUNDANCE FILM FEST

FOR IMMEDIATE RELEASE

Casey Affleck, Rooney Mara, Ben Foster, Nate Parker Star

PARK CITY, UT (January 25, 2013) – IFC Films announced today from the 2013 Sundance Film Festival that the company is acquiring U.S. rights to writer-director David Lowery’s second feature AIN’T THEM BODIES SAINTS, which premiered on January 20 at the 2013 Sundance Film Festival. The film, with a screenplay by Lowery, stars Rooney Mara, Casey Affleck, Ben Foster, Nate Parker and Keith Carrradine, and was produced by Sailor Bear’s Toby Halbrooks and James M. Johnston, Parts & Labor’s Jay Van Hoy and Lars Knudsen, Primary Productions’ Amy Kaufman and Cassian Elwes. The film was executive produced by Evolution Entertainment’s Mark Burg and Michael Menchel, Paradox’s Fredrik Malmberg and Daniel Wagner, and Lagniappe’s Jesse Kennedy and Logan Levy.

Set against the backdrop of 1970’s Texas Hill Country, AIN’T THEM BODIES SAINTS is a romantic American story that follows three characters on various sides of the law — outlaw Bob Muldoon (Affleck), his wife Ruth Guthrie (Mara), and a local sheriff named Patrick Wheeler (Foster), who gets caught in their crosshairs.

Jonathan Sehring, President of Sundance Selects/IFC Films, said: “Coming into Sundance, this was one of the biggest titles on our list and probably on many buyers lists, and so we are ecstatic about this acquisition for our company. This is a beautiful and exquisitely crafted romantic American drama, with superlative performances across the board.  We are honored to now be able to say we get to work with David Lowery, a remarkable new voice in filmmaking, as we take this film to audiences.”

“We put our all into making AIN’T THEM BODIES SAINTS and bringing it to Sundance, and our hope was that it would find a home with a distributor who’s passion for the film would match our own. The good folks at IFC Films demonstrated to us that, not only do they share that fervor, but that they’re ready to roll up their sleeves and get some dirt under their fingernails as they work with us to bring this picture to the big screen,” said Lowery. “I can’t wait.”

Lowery is a filmmaker from Texas. His first feature ST. NICK (2009) and his short-film PIONEER (2011) have screened at festivals around the world. In addition to his second feature AIN’T THEM BODIES SAINTS premiering at Sundance this week, he also co-wrote Yen Tan’s film PIT STOP, and edited the Shane Carruth-directed film UPSTREAM COLOR, both which premiered at Sundance this week as well.

The deal for the film was negotiated by Arianna Bocco, Senior Vice President of Acquisitions & Productions for Sundance Selects/IFC Films with Elwes and WME Global on behalf of the filmmakers.

 

IFC Films is a sister label to IFC Midnight and Sundance Selects, and is owned and operated by AMC Networks Inc.

 

This is the second acquisition for IFC Films at the festival on the heels of securing rights to Michael Winterbottom’s Steve Coogan starrer-THE LOOK OF LOVE.  IFC Films’ sister label Sundance Selects acquired rights two docs in competition at the festival — Nick Ryan’s THE SUMMIT and Richard Rowley’s DIRTY WARS.

 

Parts & Labor producers’ Van Hoy and Kundsen previously worked with the IFC team on Aaron Katz’s COLD WEATHER, which they produced.  Their company also has produced Mike Mills’ BEGINNERS, (for which Christopher Plummer won the 2012 Academy Award for Best Supporting Actor); Ira Sachs’ KEEP THE LIGHTS ON and Julia Lotkev’s THE LONELIEST PLANET.  They also have two other films premiering in competition at this year’s Sundance Film Festival — photojournalist Shaul Schwarz’s documentary NARCO CULTURA; and Andrew Dosunmu’s second feature MOTHER OF GEORGE.

 

Sailor Bear’s producing duo of Halbrooks and Johnston also were recipients of the 2013 Indian Paintbrush Producers Award, given out at the festival this week.

 

 

*                      *                      *                      *

About IFC FILMS

Established in 2000 and based in New York City, IFC Films is a leading U.S. distributor of quality talent-driven independent film.  Its unique distribution model makes independent films available to a national audience by releasing them in theaters as well as on cable’s Video On Demand (VOD) platform, reaching nearly 50 million homes. Some of the company’s successes over the years have included MY BIG FAT GREEK WEDDING, Y TU MAMA TAMBIEN, TOUCHING THE VOID, 4 MONTHS, 3 WEEKS AND 2 DAYS, GOMORRAH, CHE, SUMMER HOURS, ANTICHRIST, IN THE LOOP, ANTICHRIST, WORDPLAY, CAIRO TIME, JOAN RIVERS: A PIECE OF WORK, TINY FURNITURE and CARLOS.  Over the years, IFC Films has worked with established and breakout auteurs, including Steven Soderbergh, Gus Van Sant, Spike Lee, Richard Linklater, Miranda July, Lars Von Trier, Gaspar Noe, Todd Solondz, Cristian Mungiu, Susanne Bier, Olivier Assayas, Jim McKay, Larry Fessenden, Gregg Araki, Jacques Rivette, Claude Chabrol, as well as more recent breakouts such as Andrea Arnold, MiaHansen Love, Corneliu Porombiou, Joe Swanberg, Barry Jenkins, Lena Dunham, Aaron Katz, Daryl Wein and Abdellatif Kechiche. Recent releases include PEACE, LOVE, AND MISUNDERSTANDING starring Jane Fonda and Catherine Keener; and YOUR SISTER’S SISTER starring Emily Blunt and Mark Duplass. IFC Films is a sister label to Sundance Selects and IFC Midnight, and is owned and operated by AMC Networks Inc.

Leave a Reply

Quote Unquotesee all »

“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas