The Southeastern Film Critics Association

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




BEST PICTURE
1. Up in the Air
2. The Hurt Locker
3. Up
4. Inglourious Basterds
5. A Serious Man
6. (500) Days of Summer
7. Precious: Based on the Novel Push by Sapphire
8. The Messenger
9. Fantastic Mr. Fox
10. District 9

BEST ACTOR
George Clooney – Up in the Air
Runner-up: Jeremy Renner – The Hurt Locker

BEST ACTRESS
Meryl Streep – Julie & Julia
Runner-up: Gabourey Sidibe – Precious: Based on the Novel Push by Sapphire

BEST SUPPORTING ACTOR
Christoph Waltz – Inglourious Basterds
Runner-up: Woody Harrelson – The Messenger

BEST SUPPORTING ACTRESS
Mo’Nique – Precious: Based on the Novel Push by Sapphire
Runner-up: Anna Kendrick – Up in the Air

BEST DIRECTOR
Kathryn Bigelow – The Hurt Locker
Runner-up: Jason Reitman – Up in the Air

BEST ORIGINAL SCREENPLAY
Scott Neustadter & Michael H. Weber – (500) Days of Summer
Runner-up: Mark Boal – The Hurt Locker

BEST ADAPTED SCREENPLAY
Jason Reitman and Sheldon Turner – Up in the Air
Runner-up: Wes Anderson & Noah Baumbach – Fantastic Mr. Fox

BEST FOREIGN-LANGUAGE FILM
Summer Hours (France)
Runner-up: The White Ribbon (Germany)

BEST DOCUMENTARY
Food, Inc.
Runner-up: The Cove

BEST ANIMATED FEATURE
Up
Runner-up: Fantastic Mr. Fox

WYATT AWARD
That Evening Sun
Runner-up: Goodbye Solo

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From AMPAS president John Bailey:

Dear Fellow Academy Members,

Danish director Carl Dreyer’s 1928 film “The Passion of Joan of Arc” is not only one of the visual landmarks of the silent era, but is a deeply disturbing portrait of a young woman’s persecution in the face of the male judges and priests of the ruling order. The actress Maria Falconetti gave one of the most profoundly affecting performances in the history of cinema as the Maid of Orleans.

Since the decision of the Academy’s Board of Governors on Saturday October 14 to expel producer Harvey Weinstein from its membership, I have been haunted not only by the recurring image of Falconetti and the sad arc of her career (dying in Argentina in 1946, reputedly from a crash diet) but of Joan’s refusal to submit to an auto de fe recantation of her beliefs.

Recent public testimonies by some of filmdom’s most recognized women regarding sexual intimidation, predation, and physical force is, clearly, a turning point in the film industry—and hopefully in our country, where what happens in the world of movies becomes a marker of societal Zeitgeist. Their decision to stand up against a powerful, abusive male not only parallels the cinema courage of Falconetti’s Joan but gives all women courage to speak up.

After Saturday’s Board of Governors meeting, the Academy issued a passionately worded statement, expressing not only our concern about harassment in the film industry, but our intention to be a strong voice in changing the culture of sexual exploitation in the movie business, already common well before the founding of the Academy 90 years ago. It is up to all of us Academy members to more clearly define for ourselves the parameters of proper conduct, of sexual equality, and respect for our fellow artists throughout our industry. The Academy cannot, and will not, be an inquisitorial court, but we can be part of a larger initiative to define standards of behavior, and to support the vulnerable women and men who may be at personal and career risk because of violations of ethical standards by their peers.

Yours,
John

.“People that are liars — lying to his wife, to his children, to everyone — well, they have to turn around and say, ‘Who stabbed me?’ It’s unbelievable that even to this moment he is more concerned with who sold him out. I don’t hear concern or contrition for the victims. And I want them to hear that.”
~ Bob Weinstein