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The Southeastern Film Critics Association

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Awards: December 19, 2005

BEST DOCUMENTARY
March of the Penguins
Runner-up – Grizzly Man

BEST ANIMATED FILM
Wallace and Gromit: The Curse of the Were-Rabbit
Runner-up – Tim Burton’s Corpse Bride

BEST FOREIGN LANGUAGE FILM
Caché
Runner-up – Kung-fu Hustle

BEST DIRECTOR
Ang Lee, Brokeback Mountain
Runner-up – George Clooney, Good Night, and Good Luck.

BEST ACTOR
Philip Seymour Hoffman, Capote
Runner up – Heath Ledger, Brokeback Mountain

BEST ACTRESS
Felicity Huffman, Transamerica
Runner-up – Reese Witherspoon, Walk the Line

BEST SUPPORTING ACTOR
Paul Giamatti, Cinderella Man
Runner-up – George Clooney, Syriana

BEST SUPPORTING ACTRESS
Amy Adams, Junebug
Runner-up – Michelle Williams, Brokeback Mountain

BEST ORIGINAL SCREENPLAY
Paul Haggis and Bobby Moresco, Crash
Runners-up – George Clooney and Grant Herslov, Good Night, and Good Luck.

BEST ADAPTED SCREENPLAY
Larry McMurtry and Diana Ossana, Brokeback Mountain
Runner-up – Dan Futterman, Capote

SEFCA Top Ten
Brokeback Mountain
Good Night, and Good Luck.
Capote
Crash
A History of Violence
The Constant Gardener
Syriana
Cinderella Man
King Kong
Walk the Line

WYATT AWARD
Junebug
Runner-up – Hustle and Flow

The Wyatt, given in memory of late SEFCA member Gene Wyatt, is awarded a film that captures the spirit of the South. This is the first year a recipient has been chosen.

Forty-two members in nine states (Alabama, Arkansas, Florida, Georgia, Louisiana, North Carolina, South Carolina, Tennessee and Virginia) voted in the 14th annual SEFCA poll.

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“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

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