Alliance of Women Film Journalists

2006 | 2007 | 2008 | 2009 | 2010 | 2012 | 2013

BEST FILM
Pan’s Labyrinth – Guillermo del Toro

BEST DRAMA BY OR ABOUT WOMEN
Little Children – Todd Field

BEST COMEDY BY OR ABOUT WOMEN
Little Miss Sunshine – Jonathan Dayton, Valerie Faris

BEST SCREENPLAY WRITTEN BY A WOMAN
Half Nelson – Anna Boden

BEST DOCUMENTARY BY OR ABOUT WOMEN
Jesus Camp – Heidi Ewing and Rachel Grady

BEST ACTRESS IN A DRAMATIC PERFORMANCE
Dame Helen Mirren – The Queen

BEST ACTRESS IN A COMEDIC PERFORMANCE
Meryl Streep – The Devil Wears Prada

BEST PERFORMANCE BY AN ACTRESS OR ACTOR IN SUPPORT OF A FEMALE PROTAGONIST OR FEMALE PERSPECTIVE
Jennifer Hudson – Dreamgirls

BEST BREAKTHROUGH PERFORMANCE FOR A YOUNG ACTRESS
Abigail Breslin – Little Miss Sunshine

BEST ENSEMBLE CAST
Little Miss Sunshine

HANGING IN THERE FOR THE BEST PERSISTENCE
Deepa Mehta – Water

BEST OF THE FESTS
In Recognition of the outstanding films that premiered and were seen at festivals during 2006, but have not yet found their way into distribution.

Apart from That — Randy Walker and Jennifer Shainin
This quirky, experimental first feature explores themes of
loneliness, relationship and the desire for love and acceptance.
Using an amateur cast, the filmmakers scheduled shooting two days on, one day off, so they could rewrite the script as they went along, based on where the actors were taking their roles. (Seen at Sundance)
Cats of Mirikatani – Linda Hattendorf
A wonderful documentary about how a courageous filmmaker
managed to change her subject’s life for the better. (Seen at
Tribeca Film Festival)
Cinnamon – Kevin Jerome Everson
This experimental blend of documentary and narrative filmmaking
presents the story of a female drag racer whose family are all involved in the exhilarating sport. (Seen at Sundance)
Falling – Barbara Albert
Working improvisationally with actors, Albert follows a group of 30-something Austrian women who reunite 14 years after their schooldays at their teacher’s funeral, and confront their unrealized dreams and burdensome adult lives. Albert’s portrait of the difficulties women face is realistic, yet optimistic. (Seen at New York Film Festival)
Just Like The Son – Morgan J. Freeman
A sweet, simple story about a troubled teen who opens his heart to a young, neglected boy. (Seen at Tribeca Film Festival)

Shadow of Afghanistan – Suzanne Bauman and Jim Burroughs
It took 20 years to complete this documentary chronicling developments in Afghanistan, from Eisenhower’s 1959 friendly visit, through Soviet invasion and expulsion, the ensuing civil war, to post-9/11 American bombing and occupation. The film uses extraordinary footage, some shot by slain journalist Lee Shapiro, to present the lives of a beleaguered people. (Seen at Tribeca Film Festival)

Snow Cake – Marc Evans
Sigourney Weaver and Alan Rickman give wonderful performances in this film, which was flawlessly written by newcomer Angela Pell. (Seen at Tribeca Film Festival)
Son of Man – Mark Dornford-May
An effective and powerful retelling of the Jesus Christ story, transposed to Africa during civil war. It’s intense and violent and familiar and moving, all at once. (Seen at Sundance)

BEST DEPICTION OF NUDITY OR SEXUALITY
Little Children

DON’T STICK YOUR HEAD IN THE SAND AWARD
Jesus Camp – Heidi Ewing and Rachel

2006’s OUTSTANDING ACHIEVEMENT BY A WOMAN IN THE FILM INDUSTRY
For her amazing 2006 trifecta as Susan in Babel, Lena Brandt in The Good German, and
Sheba Hart in Notes On A Scandal, AWFJ officially dubs her Cate the Great, and presents its 2006 Outstanding Achievement Award

Cate Blanchett

THE LIFETIME ACHIEVEMENT AWARD
For a treasury of extraordinary performances far too numerous to name here, and much too memorable to make it necessary to do so, for her great integrity in choosing and making the very most out of roles big and small, for her ability to melt into the ensemble or seize the spotlight with a single biting line delivery, for having the versatility to be as at home in historical dramas as she is in James Bond pictures, for her commitment to lending her abilities to the part rather than bending the part to her abilities and for being famous not just as a powerhouse performer but also as a woman who’s a delightful colleague, always supportive, ready with restorative humor and generous with handmade needlepoint pillows for those whom she especially favors, it is with a great hurrah that there’s much more to come, that AWFJ presents its 2006 EDA Award for Lifetime Achievement

Dame Judi Dench.

AWFJ AWARD FOR HUMANITARIAN ACTIVISM
For redirecting the spotlight that shines on her so that it illuminates critical problems of child welfare, poverty, pandemic and prevasive violence throughout the world, and for commiting her spirit, time and material resources to their resolution, it is with profound respect and appreciation that AWFJ presents its 2006 EDA Award for Humanitarian activism

Angelina Jolie

AN ACTRESS DEFYING AGE AND AGISM
For making career and life choices that let fans of all ages know that becoming older is much easier and more joyful when it is not encumbered by the prejudices society places upon it, it is with great enthusiasm that AWFJ presents its 2006 EDA Award for Defying Age and Agism

Dame Helen Mirren

ACTRESS MOST IN NEED OF A NEW AGENT
Uma Thurman

MOVIES YOU WANTED TO LOVE BUT JUST COULDN’T
Marie Antoinette

BEST DEPICTION OF NUDITY OR SEXUALITY
Little Children

AWFJ HALL OF SHAME AWARDS

A Good Year
Basic Instinct 2
Beerfest
Black Dahlia
Little Man
My Super-Ex Girlfriend
You, Me and Dupree
and
Mel Gibson, who has been awarded his place in the AWFJ Hall of Shame in recognition of the sexism he displayed when, according to police reports, he called a female officer ‘sugar tits,’ during his more famously anti-Semitic rant. We wish to assure Mr. Gibson that we heard the full scope of his rage that evening– not just the Jewish part.

The Alliance of Women Film Journalists (AWFJ) IS a not-for-profit association of professional female movie critics, reporters and feature writers working in print, broadcast and online media. Our purpose is to support work by and about women– both in front of and behind the cameras– though intra-group promotional activities, outreach programs and by presenting awards in recognition of outstanding accomplishments (the best and worst) by and about women in the movies.

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The Atlantic: You saw that the Academy Awards recently held up your 2001 acceptance speech as the Platonic ideal of an Oscar speech. Did you have a reaction?

Soderbergh: Shock and dismay. When that popped up and people started texting me about it, I said, “Oh, it’s too bad I’m not there to tell the story of how that took place.” Well. I was not sober at the time. And I had nothing prepared because I knew I wasn’t going to win [Best Director for Traffic]. I figured Ridley, Ang or Daldry would win. So I was hitting the bar pretty hard, having a great night, feeling super-relaxed because I don’t have to get up there. So the combination of a 0.4 blood alcohol level and lack of preparation resulted in me, in my state of drunkenness crossed with adrenaline surge. I was coherent enough to know that [if I tried to thank everyone], that way lies destruction. So I went the other way. There were some people who appreciated that, and there were some people who really wanted to hear their names said, and I had to apologize to them.
~ Steven Soderbergh

 

“I have made few films in a way. I never made action films. I never made science fiction films. I never made, really, very complicated settings, because I had modest ambitions. I knew they would never trust me to have the budget to do something different, so my mind is more focused on things I know. So they were always mental adventures I wanted to approach and share. Working for cinema with no – not only no money, but also no ambition for money. I was happy and proud [to receive the honorary Oscar] because of that, that [the Academy] could understand what kind of work I have done over 60 years. I stayed faithful to the ideal of sharing emotion, impressions, and mostly because I have so much empathy for other people that I approach people who are not really spoken about. I have 65 years of work in my bag, and when I put the bag down, what comes out? It’s really the desire of finding links and relationships with different kinds of people. I never made a film about the bourgeoisie, about rich people. about nobility. My choices have been to show people that are, in a way, more common and see that each of them has something special and interesting, rare and beautiful. It’s my natural way of looking at people. I didn’t fight my instincts. And maybe that has been appreciated in the famous circle of Hollywood.“

Agnes Varda