By MCN Editor editor@moviecitynews.com

The National Society Of Film Critics 2011 Awards

The National Society of Film Critics on Saturday, January 7th, 2012, chose “Melancholia”
as Best Picture of the Year 2011. Kristin Dunst was named best actress for her performance in Lars von Trier’s film, and Brad Pitt was named best actor for his work in “Moneyball” and “The Tree of Life.” Albert Brooks (or his evil twin) won best supporting actor for his appearance in “Drive,” and Jessica Chastain was named best supporting actress for her work in three films: “The Tree of Life,” “Take Shelter” and “The Help.”

See below for all votes in Best Picture and other categories for outstanding film achievement.

The Society, which is made up of 58 of the country’s most prominent movie critics, held its 46th annual awards voting meeting at Sardi’s Restaurant in New York City, using a weighted ballot system. Scrolls will be sent to the winners.

BEST ACTOR
*1. Brad Pitt – 35 (Moneyball, The Tree of Life)
2. Gary Oldman – 22 (Tinker Tailor Soldier Spy)
3. Jean Dujardin – 19 (The Artist)

BEST ACTRESS
*1. Kirsten Dunst – 39 (Melancholia)
2. Yun Jung-hee – 25 (Poetry)
3. Meryl Streep – 20 (The Iron Lady)

BEST SUPPORTING ACTOR
*1. Albert Brooks – 38 (Drive)
2. Christopher Plummer – 24 (Beginners)
3. Patton Oswalt – 19 (Young Adult)

BEST SUPPORTING ACTRESS
*1. Jessica Chastain – 30 (The Tree of Life, Take Shelter, The Help)
2. Jeannie Berlin – 19 (Margaret)
3. Shailene Woodley – 17 (The Descendants)

BEST PICTURE
*1. Melancholia – 29 (Lars von Trier)
2. The Tree of Life – 28 (Terrence Malick)
3. A Separation – 20 (Asghar Farhadi)

BEST DIRECTOR
*1. Terrence Malick – 31 (The Tree of Life)
2. Martin Scorsese – 29 (Hugo)
3. Lars von Trier – 23 (Melancholia)

BEST NONFICTION
*1. Cave of Forgotten Dreams – 35 (Werner Herzog)
2. The Interrupters – 26 (Steve James)
3. Into the Abyss – 18 (Werner Herzog)

BEST SCREENPLAY
*1. A Separation – 39 (Asghar Farhadi)
2. Moneyball – 22 (Steven Zaillian, Aaron Sorkin)
3. Midnight in Paris – 16 (Woody Allen)

BEST FOREIGN-LANGUAGE FILM
*1. A Separation – 67 (Asghar Farhadi)
2. Mysteries of Lisbon – 28 (Raoul Ruiz)
3. Le Havre – 22 (Aki Kaurismäki)

BEST CINEMATOGRAPHY
*1. The Tree of Life – 76 (Emanuel Lubezki)
2. Melancholia – 41 (Manuel Alberto Claro)
3. Hugo – 33 (Robert Richardson)

EXPERIMENTAL
Ken Jacobs, for “Seeking the Monkey King.”

FILM HERITAGE
1. BAMcinématek for its complete Vincente Minnelli retrospective with all titles shown on 16 mm. or 35 mm. film.
2. Lobster Films, Groupama Gan Foundation for Cinema and the Technicolor Foundation for Cinema for the restoration of the color version of George Méliès’s “A Trip to the Moon.”
3. New York’s Museum of Modern Art for its extensive retrospective of Weimar Cinema.
4. Flicker Alley for their box set “Landmarks of Early Soviet Film.”
5. Criterion Collecton for its 2-disc DVD package “The Complete Jean Vigo.”

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3 Responses to “The National Society Of Film Critics 2011 Awards”

  1. Danella Isaacs says:

    I wonder why they don’t give a screenplay award.

  2. Danella Isaacs says:

    Wait, they do. You just haven’t list it yet.

    BEST SCREENPLAY
    *1. A Separation – 39 (Asghar Farhadi)
    2. Moneyball – 22 (Steven Zaillian, Aaron Sorkin)
    3. Midnight in Paris – 16 (Woody Allen)

    BEST CINEMATOGRAPHY
    *1. The Tree of Life – 76 (Emanuel Lubezki)
    2. Melancholia – 41 (Manuel Alberto Claro)
    3. Hugo – 33 (Robert Richardson)

  3. Ray Pride says:

    Updated with the complete list from the NSFC website. Thanks for noticing!

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé