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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“I don’t really think, Sean, that you need to know about my various sexual liaisons. Or that anyone else needs to. I did write about them. I filled a hundred pages of Moleskine notebooks with my one-night stands, my affairs. But I decided they didn’t belong in a professional memoir. First of all, these are real people we’re talking about. Many of them were enjoyable. Some were abject failures. My wife said to me when she read the pages, ‘Of what purpose is this in a memoir? Of what purpose is this other than to titillate?’ The point is, I never see them. It’s because I have nothing in common with them, frankly. And probably didn’t at the time. I could not provide a sensible reason why I married these women. The thing is, in the case of my marriages, it takes two people to fuck up a marriage. It wasn’t simply the fault of these women that I lost interest in them and realised they were insignificant relationships. Which is how I look at them right now–as being insignificant. I see them as blips.”
~ William Friedkin On Cutting Interviewers Off At The Sass

“I have to imagine from Mr. Spielberg’s point of view, the paradigm shift in the 1970s was just the new “normal,” a “halcyon era” from which we are straying in the 21st century–because theatrical exhibition is tenuous (as it has been since the 1940s), the home video market has dried up and people are watching pirated movies on their phone. Spielberg’s coming-of-age era was for him the halcyon period that the 21st century “implosion” will cause to go “crashing into the ground.” But he is wrong. The market for movies is actually diverse and highly segmented–although from the top-down movie industry vantage point and media punditry you would not think this to be true.  Would we really mourn for Mr. Spielberg or ourselves if Lincoln would have been made for cable or had played on public television?  Is it bad for humanity that cable television is creating wonderful, resonant stories in long-form series that people want to watch at home on TV (or streamed onto their computer)? I don’t think so, but it is a paradigm shift and it might affect people’s theatrical moviegoing habits. Televisions in people’s homes have had that effect for seven decades–it is not a new phenomenon. As Art House cinema impresarios we need to focus on what WE can do at our theaters and in our communities. It is not productive for us to fret over what pundits say or about what well-meaning filmmakers like the Stevens–Spielberg and Soderbergh–say. We should fret about what we can do in our communities. What we can do to support filmmakers.”
~ From A Response By Russ Collins, CEO, Michigan Theater–Ann Arbor And Director, Art House Convergence, To Mr. Spielberg