Chicago Film Critics

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013

Nominations: December 30, 2005
Awards: January 9, 2006

Best Picture
Crash

Best Foreign Language Film
Cache

Best Director
David Cronenberg: A History of Violence

Best Screenplay
Crash by Paul Haggis & Bobby Moresco

Best Actor
Philip Seymour Hoffman – Capote

Best Actress
Joan Allen – The Upside of Anger

Best Supporting Actor
Mickey Rourke – Sin City

Best Supporting Actress
Maria Bello – A History of Violence

Best Cinematography
Rodrigo Prieto – Brokeback Mountain

Best Original Score
Brokeback Mountain – Gustavo Santaolalla

Best Documentary
Grizzly Man

Most Promising Performer
Miranda July – Me and You and Everyone We Know

Most Promising Director
Bennett Miller – Capote

Nominations

Best Picture
Brokeback Mountain
Crash
Good Night, and Good Luck
A History of Violence
King Kong

Best Foreign Language Film
2046
Cache
Downfall
Kung – Fu Hustle
Oldboy

Best Director
George Clooney: Good Night, and Good Luck
David Cronenberg: A History of Violence
Peter Jackson: King Kong
Ang Lee: Brokeback Mountain
Steven Spielberg: Munich

Best Screenplay
Brokeback Mountain by Larry McMurtry & Diana Ossana
Capote by Dan Futterman
Crash by Paul Haggis & Bobby Moresco
Good Night, and Good Luck by George Clooney & Grant Heslov
A History of Violence by Josh Olson

Best Actor
Philip Seymour Hoffman – Capote
Terrence Howard – Hustle & Flow
Heath Ledger – Brokeback Mountain
Joaquin Phoenix – Walk the Line
David Strathairn – Good Night, and Good Luck

Best Actress
Joan Allen – The Upside of Anger
Felicity Huffman – Transamerica
Keira Knightley – Pride & Prejudice
Naomi Watts – King Kong
Reese Witherspoon – Walk the Line

Best Supporting Actor
Matt Dillon – Crash
Terrence Howard – Crash
Paul Giamatti – Cinderella Man
Jake Gyllenhaal – Brokeback Mountain
Mickey Rourke – Sin City
Donald Sutherland – Pride & Prejudice

Best Supporting Actress
Amy Adams – Junebug
Maria Bello – A History of Violence
Scarlett Johansson – Match Point
Catherine Keener – Capote
Rachel Weisz – The Constant Gardener
Michelle Williams – Brokeback Mountain

Best Original Score
Batman Begins – Hans Zimmer and James Newton Howard
Brokeback Mountain – Gustavo Santaolalla
Charlie and the Chocolate Factory – Danny Elfman
King Kong – James Newton Howard
Memoirs of a Geisha – John Williams

Best Cinematography
Brokeback Mountain – Rodrigo Prieto
Good Night, and Good Luck – Robert Elswit
King Kong – Andrew Lesnie
Munich – Janusz Kaminski
The New World – Emmanuel Lubezki
Pride & Prejudice – Roman Osin

Best Documentary
Enron: The Smartest Guys in the Room
Grizzly Man
Mad Hot Ballroom
March of the Penguins
Murderball

Most Promising Performer
Chris “Ludacris” Bridges – Crash and Hustle & Flow
Georgie Henley – The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
Miranda July – Me and You and Everyone We Know
Q’Orianka Kilcher – The New World
Owen Kline – The Squid and the Whale

Most Promising Director
Craig Brewer – Hustle & Flow
Miranda July – Me and You and Everyone We Know
Bennett Miller – Capote
Phil Morrison – Junebug
Joe Wright – Pride & Prejudice

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato