Women Film Critics Circle

2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010

BEST PICTURE BY A WOMAN [tie]
Away From Her: Sarah Polley
Talk To Me: Kasi Lemmons

BEST PICTURE ABOUT WOMEN
Juno: Jason Reitman

BEST WOMAN STORYTELLER [Screenwriting Award]
Juno: Diablo Cody

BEST ACTRESS
Laura Linney: The Savages

BEST COMEDIC PERFORMANCE
Amy Adams: Enchanted

BEST ACTOR
Daniel Day-Lewis: There Will Be Blood

BEST YOUNG ACTRESS
Saoirse Ronan: Atonement

BEST FEMALE IMAGES IN A MOVIE [tie]
Hairspray
Life Support

BEST FOREIGN FILM [tie]
La Vie En Rose
Persepolis

BEST MUSIC
Hairspray: Nikki Blonsky, Queen Latifah

BEST THEATRICALLY UNRELEASED MOVIE BY OR ABOUT WOMEN
Life Support

**ADRIENNE SHELLY AWARD
For a film that most passionately opposes violence against women
Redacted

**JOSEPHINE BAKER AWARD
For best expressing the woman of color experience in America:
The Great Debaters

**KAREN MORLEY AWARD
For best exemplifying a woman’s place in history or society, and a courageous search for identity:
A Mighty Heart

LIFETIME ACHIEVEMENT AWARD
Judi Dench

SPECIAL MENTION FOR A FEMALE’S RIGHT TO MALE ROLES IN MOVIES
Cate Blanchett: I’m Not There

ACTING AND ACTIVISM
Angelina Jolie

BEST DOCUMENTARIES

ABOVE AND BEYOND
Redacted [mixed media]
GROUNDBREAKER
Strange Culture: Lynn Hershman-Leeson
COURAGE IN FILMMAKING
Meeting Resistance: Molly Bingham, co-director

BEST EQUALITY OF THE SEXES [tie]
Away From Her
Becoming Jane

MOST OFFENSIVE MALE CHARACTERS
Crazy Love [Burt Pugach] *****Winning Loser
Norbit [Rasputia] *****Winning Looser
Good Luck Chuck
The Heartbreak Kid
Knocked Up
Revolver
Superbad
Who’s Your Caddy

WFCC TOP TEN HALL OF SHAME
Black Snake Moan***Winning Loser
Exterminating Angels***Winning Loser
Goya’s Ghost***Winning Loser
Atonement
Captivity
Gone Baby Gone
Hairspray/Edna [John Travolta]
Lust, Caution
Norbit/Rasputia [Eddie Murphy]
Red Road

BEST ANIMATED FEMALE
Enchanted: Elle

BEST FAMILY FILM
Enchanted
**ADRIENNE SHELLY AWARD: Adrienne Shelly was a promising actress and filmmaker who was brutally strangled in her apartment in 2006 at the age of forty by a construction worker in the building, after she complained about noise. Her killer tried to cover up his crime by hanging her from a shower rack in her bathroom, to make it look like a suicide. He later confessed that he was having a “bad day.” Shelly, who left behind a baby daughter, had just completed her film Waitress, which she also starred in, and which was honored at Sundance after her death.

**JOSEPHINE BAKER AWARD; The daughter of a laundress and a musician, Baker overcame being born black, female and poor, and marriage at age fifteen, to become an internationally acclaimed legendary performer, starring in the films Princess Tam Tam, Moulin Rouge and Zou Zou. She also survived the race riots in East St. Louis, Illinois as a child, and later expatriated to France to escape US racism. After participating heroically in the underground French Resistance during WWII, Baker returned to the US where she was a crusader for racial equality. Her activism led to attacks against her by reporter Walter Winchell who denounced her as a communist, leading her to wage a battle against him. Baker was instrumental in ending segregation in many theaters and clubs, where she refused to perform unless integration was implemented.

**KAREN MORLEY AWARD: Karen Morley was a promising Hollywood star in the 1930s, in such films as Mata Hari and Our Daily Bread. She was driven out of Hollywood for her political convictions by the Blacklist and for refusing to testify against other actors, while Robert Taylor and Sterling Hayden were informants against her. And also for daring to have a child and become a mother, unacceptable for female stars in those days. Morley maintained her outspoken political activism for the rest of her life, running for Lieutenant Governor on the American Labor Party ticket in 1954. She passed away in 2003, unrepentant to the end, at the age of 93.

**The Woman’s Right To Male Roles In Movies Award is intended to challenge that men have not only the most prominent roles in films, but also the most complex and fully drawn out characters. So when an actress can fight for access to such a role, and it may be rewritten for her, it is one of substance, and free of the usual shallow or demonized female stereotypes.

The Women Film Critics Circle website is WFCC.wordpress.com, and they can be reached at: Criticalwomen@gmail.com.

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“I remember very much the iconography and the images and the statues in church were very emotional for me. Just the power of that, and even still — just seeing prayer card, what that image can evoke. I have a lot of friends that are involved in the esoteric, and I know some girls in New York that are also into the supernatural. I don’t feel that I have that gift. But I am leaning towards mysticism… Maybe men are more practical, maybe they don’t give into that as much… And then also, they don’t convene in the same way that women do. But I don’t know, I am not a man, I don’t want to speak for men. For me, I tend to gravitate towards people who are open to those kinds of things. And the idea for my film, White Echo, I guess stemmed from that — I find that the girls in New York are more credible. What is it about the way that they communicate their ideas with the supernatural that I find more credible? And that is where it began. All the characters are also based on friends of mine. I worked with Refinery29 on that film, and found that they really invest in you which is so rare in this industry.”
Chloë Sevigny

“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier