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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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato