Washington, D.C. Area Film Critics Association

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2012 | 2013 | 2014

And The Winners Are …

Best Film
The Lord of the Rings: The Return of the King

Best Ensemble
Love Actually

Best Director
Peter Jackson/Lord of the Rings: Return of the King

Best Actor
Bill Murray/Lost in Translation

Best Actress
Naomi Watts/21 Grams

Best Supporting Actor
Benicio del Toro/21 Grams

Best Supporting Actress
Anna Deveare Smith/The Human Stain

Best Screenplay, Original
Sofia Coppola/Lost in Translation

Best Screenplay, Adapted
Brian Helgeland/Mystic River

Best Animated Feature
Finding Nemo

Best Documentary
Fog of War

Best Guilty Pleasure
Pirates of the Caribbean
NOMINATIONS

Best Film
Lost in Translation
Mystic River
Lord of the Rings: Return of the King
Master and Commander: The Far Side of the World
City of God

Best Ensemble
Mystic River
A Mighty Wind
Master and Commander: The Far Side of the World
Lord of the Rings: Return of the King
Love Actually

Best Director
Sophia Coppola/Lost in Translation
Peter Jackson/Lord of the Rings: Return of the King
Peter Weir/Master and Commander: The Far Side of the World
Clint Eastwood/Mystic River
Kátia Lund & Fernando Meirelles/City of God

Best Actor
Sean Penn/Mystic River
Bill Murray/Lost in Translation
Ben Kingsley/House of Fog and Sand
Chiwetel Ejiofor/Dirty Pretty Things
Johnny Depp/Pirates of the Caribbean

Best Actress
Evan Rachel Wood/Thirteen
Cate Blanchett/Veronica Guernin
Naomi Watts/21 Grams
Keisha Castle-Hughes/Whale Rider
Diane Keaton/Something’s Gotta Give

Best Supporting Actor
Ken Watanabe/The Last Samurai
Alec Baldwin/The Cooler
Benicio del Toro/21 Grams
Tim Robbins/Mystic River
Peter Sarsgaard/Shattered Glass

Best Supporting Actress
Renee Zellweger/Cold Mountain
Holly Hunter/Thirteen
Ludivine Sagnier/Swimming Pool
Sarah Bolger/In America
Anna Deveare Smith/The Human Stain

Best Screenplay, Original
Sofia Coppola/Lost in Translation
Stephen Knight/Dirty Pretty Things
Bob Peterson and David Reynolds/Finding Nemo
Guillermo Arriaga Jordan/21 Grams
Nikki Reed and Catherine Hardwicke/Thirteen

Best Screenplay, Adapted
Billy Ray/Shattered Glass
Fran Walsh and Philippa Boyens/Lord of the Rings: Return of the King
Brian Helgeland/Mystic River
Fernando Meirelles and Braulio Mantovani/City of God
Peter Weir and John Collee/Master and Commander: The Far Side of the World

Best Animated Feature
Finding Nemo
Triplettes of Bellville
Brother Bear

Best Documentary
Capturing the Friedmans
Fog of War
Step Into Liquid
Tupac: Resurrection
Amandla: A Revolution in Four-Part Harmony

Best Guilty Pleasure
Willard
Pirates of the Caribbean
Charlie’s Angels: Full Throttle
2 Fast 2 FuriousFreaky Friday

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“But okay, I promise you now that if I ever retire again, I’m going to ensure that I can’t walk it back. I’ll post a series of the most disgusting, offensive, outrageous statements you can ever imagine. That way it will be impossible for me to ever be employed again. No one is going to take my calls. No one is going to want to be seen with me. Oh, it will be scorched earth. I will have torched everything. I’m going to flame out in the most legendary fashion.”
~ Steven Soderbergh

I feel strongly connected to young cinephile culture. The thing about filmmaking—and cinephilia—is that you can’t keep hanging out with your own age group as you get older. They drop off, move somewhere. You can’t put together a crew of sixty-somethings. It’s the same for cinephilia: my original set of cinephile friends are watching DVDs at home or delving into 1958 episodes of ‘Gunsmoke,’ something like that. The people who are out there tend to be young, and I happen to be doing the same thing still, so it’s natural that I move in their circles.

In terms of the filmmaking, there was a gear shift: my first movies focused on people around my age, and I followed them for three films. Until The Unspeakable Act, I was using the same actors, not because of an affinity for people at a specific age, but because of my affinity for the actors. I like to work with actors a second time, especially if I don’t feel confident casting a new film. But The Unspeakable Act was a different script, and I had to cast all new people. Even for the older roles, I couldn’t get the people I’d worked with before. But when it was over, the same thing happened: I wanted to work with Tallie again in the worst way, and I started the process all over again.

I think Rohmer did something similar around the time of Perceval and Catherine de HeilbronnHe developed new groups of people that he liked to work with. These gear shifts are natural. Even if you want to follow certain actors to the end of their life (which I kind of do) the variety of ideas that you generate makes it necessary to change. And once you’ve made the change, you’ve got all these new people around.”
~ Dan Sallitt