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By Ray Pride Pride@moviecitynews.com

2012 CHICAGO FILM CRITICS ASSOCIATION NOMINEES

Link.

BEST PICTURE
Argo
Beasts of the Southern Wild
Lincoln
The Master
Zero Dark Thirty

BEST DIRECTOR
Ben Affleck, Argo
Paul Thomas Anderson, The Master
Kathryn Bigelow, Zero Dark Thirty
Steven Spielberg, Lincoln
Benh Zeitlin, Beasts of the Southern Wild

BEST ACTOR
Daniel Day-Lewis, Lincoln
John Hawkes, The Sessions
Denis Lavant, Holy Motors
Joaquin Phoenix, The Master
Denzel Washington, Flight

BEST ACTRESS
Jessica Chastain, Zero Dark Thirty
Helen Hunt, The Sessions
Jennifer Lawrence, Silver Linings Playbook
Emmanuelle Riva, Amour
Quvenzhane Wallis, Beasts of the Southern Wild
Naomi Watts, The Impossible

BEST SUPPORTING ACTOR
Jason Clarke, Zero Dark Thirty
Leonardo DiCaprio, Django Unchained
Dwight Henry, Beasts of the Southern Wild
Phillip Seymour Hoffman, The Master
Tommy Lee Jones, Lincoln

BEST SUPPORTING ACTRESS
Amy Adams, The Master
Emily Blunt, Looper
Judi Dench, Skyfall
Sally Field, Lincoln
Anne Hathaway, Les Miserables

BEST ORIGINAL SCREENPLAY
Django Unchained by Quentin Tarantino
Looper by Rian Johnson
The Master by Paul Thomas Anderson
Moonrise Kingdom by Wes Anderson & Roman Coppola
Zero Dark Thirty by Mark Boal

BEST ADAPTED SCREENPLAY
Argo by Chris Terrio
Beasts of the Southern Wild by Lucy Alibar & Benh Zeitlin
Lincoln by Tony Kushner
The Perks of Being a Wallflower by Stephen Chbosky
Silver Linings Playbook by David O. Russell

BEST FOREIGN-LANGUAGE FILM
Amour
Holy Motors
The Intouchables
Once Upon a Time in Anatolia
Rust & Bone

BEST DOCUMENTARY
The Central Park Five
The Invisible War
The Queen of Versailles
Searching For Sugar Man
West of Memphis

BEST ANIMATED FILM
Brave
Frankenweenie
ParaNorman
The Secret World of Arrietty
Wreck-It Ralph

BEST CINEMATOGRAPHY
Claudio Miranda, Life of Pi
Janusz Kaminski, Lincoln
Mihai Milaimare Jr., The Master
Roger Deakins, Skyfall
Greig Fraser, Zero Dark Thirty

BEST ORIGINAL SCORE
Alexandre Desplat, Argo
Dan Romer & Benh Zeitlin, Beasts of the Southern Wild
Jonny Greenwood, The Master
Alexandre Desplat, Moonrise Kingdom
Alexandre Desplat, Zero Dark Thirty

BEST ART DIRECTION
Anna Karenina
Les Miserables
Lincoln
The Master
Moonrise Kingdom

BEST EDITING
Willian Goldenberg, Argo
Alexander Berner & Claus Wehlisch, Cloud Atlas
Leslie Jones & Peter McNulty, The Master
Stuart Baird, Skyfall
William Goldenberg & Dylan Tichenor, Zero Dark Thirty

MOST PROMISING PERFORMER
Samantha Barks, Les Miserables
Kara Hayward, Moonrise Kingdom
Dwight Henry, Beasts of the Southern Wild
Tom Holland, The Impossible
Quvenzhane Wallis, Beasts of the Southern Wild

MOST PROMISING FILMMAKER
Stephen Chbosky, The Perks of Being a Wallflower
Drew Goddard, The Cabin in the Woods
Nicholas Jarecki, Arbitrage
Colin Trevorrow, Safety Not Guaranteed
Benh Zeitlin, Beasts of the Southern Wild

10 nominations–The Master
9 nominations–Beasts of the Southern Wild
8 nominations–Lincoln, Zero Dark Thirty
5 nominations–Argo
4 nominations–Moonrise Kingdom
3 nominations–Les Miserables, Skyfall
2 nominations–Amour, Django Unchained, Holy Motors, The Impossible, The Perks of Being a Wallflower, The Sessions, The Silver Linings Playbook, Looper
1 nomination–Anna Karenina, Arbitrage, Brave, The Cabin in the Woods, The Central Park Five, Cloud Atlas, Flight, Frankenweenie, The Intouchables, The Invisible War, The Life of Pi, Once Upon a Time in Anatolia, Paranorman, Queen of Versailles, Rust & Bone, Safety Not Guaranteed, Searching for Sugar Man, The Secret World of Arietty, West of Memphis, Wreck-It Ralph.

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“Film criticism as a business operates like the film industry itself: The people in charge like to hire people who remind them of themselves, and those people at the top are by and large straight white dudes (baseball caps are an option). That’s not to say they can’t have wildly diverging opinions on a variety of topics, but privilege comes with blinders that are often hard to acknowledge and even tougher to remove. The past few months have seen some of the most prominent film publications taking on new writers who are for the most part white men: Rolling Stone, Film Comment, Indiewire, and of course, Owen Gleiberman at Variety. Many of them have championed underdog filmmakers, but you can’t get over the sense of gatekeeping going on. Film criticism often feels like the treehouse girls are banned from entering, and it’s not hard to assume the conversations we’re missing out on aren’t exactly centered on women in the business… Our world and our art suffers when we limit the number of perspectives allowed to not only tell the story but to discuss it. Women are no better or worse in their opinions than men, but the key differences we bring allow further dimensions in the narrative. Whether they’re conscious of it or not, the ingrained biases of white maleness will continue unchallenged without contrasting voices under the banner, and the commodification of women’s faces and bodies will exacerbate to increasingly damaging levels.”
~ Ceilidhann

DENNIS COOPER

The next thing that really changed my world and thoroughly influenced my writing were the films of Robert Bresson. When I discovered them in the late seventies, I felt I had found the final ingredient I needed to write the fiction I wanted to write.

INTERVIEWER

What was the final ingredient?

DENNIS COOPER

Recognizing that the films were entirely about emotion and, to me, ­ profoundly moving while, at the same time, stylistically inexpressive and monotonic. On the surface, they were nothing but style, and the style was extremely rigorous to boot, but they seemed almost transparent and purely content driven. Bresson’s use of untrained nonactors influenced my concentration on characters who are amateurs or noncharacters or characters who are ill equipped to handle the job of manning a story line or holding the reader’s attention in a conventional way. Altogether, I think Bresson’s films had the greatest influence on my work of any art I’ve ever encountered. In fact, the first fiction of mine that was ever published was a chapbook called “Antoine Monnier,” which was a god-awful, incompetent attempt to rewrite Bresson’s film Le diable ­probablement as a pornographic novella. So I came to writing novels through a channel that included experimental fiction, poetry, and nonliterary influences pretty much exclusively. I never read normal novels with any real interest or close attention.
~ Dennis Cooper Discovers Bresson

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