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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Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

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