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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“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson