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By Laura Rooney laura@moviecitynews.com

Women Film Critics Circle Awards 2011

BEST MOVIE BY A WOMAN: TIE*
   The Iron Lady
   We Need To Talk About Kevin

BEST MOVIE ABOUT WOMEN:
   The Help

BEST STORYTELLER:
   The Iron Lady: Abi Morgan

BEST ACTRESS:
   Viola Davis: The Help
 

BEST ACTOR:
   George Clooney: The Descendants

BEST COMEDIC ACTRESS:
   Melissa McCarthy: Bridesmaids

BEST YOUNG ACTRESS:
   Shailene Woodley: The Descendants

BEST FOREIGN FILM:
   The Hedgehog

BEST FEMALE IMAGES:
   The Whistleblower

WORST FEMALE IMAGES:
   Melancholia

BEST MALE IMAGES:
   The Descendants

WORST MALE IMAGES:
   Hangover 2   

BEST DOCUMENTARY BY OR ABOUT WOMEN:
   Semper Fi: Always Faithful

BEST FAMILY FILM:
   Hugo

BEST ANIMATED FEMALES

   Puss ‘N Boots 3D

BEST EQUALITY OF THE SEXES:
   The Debt

COURAGE IN ACTING:
   Glenn Close: Albert Nobbs

THE INVISIBLE WOMAN AWARD: Tie*
   Hiam Abbass: Miral
   Michelle Williams: Meek’s Cutoff

BEST UNRELEASED MOVIE:
   Miss Representation

WOMEN’S WORK: BEST FEMALE ENSEMBLE:
   The Help

BEST SCREEN COUPLE:
   The Artist: Berenice Bejo and Jean Dujardin

LIFETIME ACHIEVEMENT AWARD: Tie*
   Kathy Bates
   Cicely Tyson

ACTING AND ACTIVISM AWARD:

   Elizabeth Taylor

ADRIENNE SHELLY AWARD
   The Whistleblower

JOSEPHINE BAKER AWARD
   The Help

KAREN MORLEY AWARD
   Albert Nobbs

MOMMIE DEAREST WORST SCREEN MOM OF THE YEAR AWARD
   Judi Dench: J. Edgar
     

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

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

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

*COURAGE IN ACTING [Taking on unconventional roles that radically redefine the images of women on screen]

*THE INVISIBLE WOMAN AWARD [Performance by a woman whose exceptional impact on the film dramatically, socially or historically, has been ignored]

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“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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