By Ray Pride Pride@moviecitynews.com

ALLIANCE OF WOMENS FILM JOURNALISTS ANNOUNCES 7TH ANNUAL EDA AWARD WINNERS

January 7, 2013 – The Alliance of Women Film Journalists (AWFJ), a membership organization of leading women film journalists and critics from across the U.S., Canada and the U.K., has announced the winners of its 7th Annual EDA Awards. Starting with Best Film, “Zero Dark Thirty” swept the AWFJ EDA “Best of” categories with five awards, took another two in the female-centric EDA Focus Awards, and earned its eighth win in the EDA Special Mention section.

In the EDA ‘Best of’ categories—which parallel those used by other voting organizations–Jessica Chastain and Daniel Day Lewis were honored for their leading roles, with supporting role awards going to Anne Hathaway and  Philip Seymour Hoffman.  Malik Benjelloul’s “Searching for Sugar Man” received the EDA for Best Documentary, and Michael Haneke’s “Amour” was embraced for “Best Non-English-Language Film.”

The AWFJ also presents two award categories that reflect the organization’s mission to celebrate women in filmmaking, as well as the perspective of women in film journalism.

The EDA Focus Award pay tribute to achievements in filmmaking by women.  Among the 2012 winners are Lucy Alibar, who received the Best Woman Screenwriter Award for “Beasts of the Southern Wild,” which she co-wrote with and Benh Zeitlin; Jennifer Lawrence who grabbed the Kick Ass Award For Best Female Action Star for her role in “The Hunger Game”; and the “Brave” heroine Merida, voiced by Kelly Macdonald, which drew Best Animated Female.  Best Breakthrough Performance went Quvenzhané Wallis for “Beasts of the Southern Wild.” This Year’s Outstanding Achievement By A Woman In The Film Industry, celebrates the overall achievements this year by “Women Documentary Filmmakers,” with five named for special mention.

ABOUT AWFJ and THE EDA AWARDS
The Alliance of Women Film Journalists, Inc. (AWFJ), a not-for-profit corporation, is an association of professional female movie critics, reporters, and feature writers working in print, broadcast, and online media. AWFJ is dedicated to raising awareness about women’s perspectives on film and to supporting work by and about women — both in front of and behind the cameras — through intra-group promotional activities, outreach programs, and by presenting the annual EDA Awards in recognition of outstanding accomplishments (the best and worst) by and about women in the movies. In 2012, AWFJ launched a new program to present EDA Awards to women filmmakers in partnership with select film festivals, in addition to the annual year end awards.  The 2012 EDA Awards is the seventh annual presentation. awfj.org

ALLIANCE OF WOMEN FILM JOURNALISTS
2012 EDA Awards Winners

AWFJ EDA ‘BEST OF’ AWARDS:

Best Film:  “Zero Dark Thirty”

Best Director:  Kathryn Bigelow – “Zero Dark Thirty”

Best Screenplay, Original:  Mark Boal – “Zero Dark Thirty”

Best Screenplay, Adapted:  Chris Terrio – “Argo”

Best Documentary:  “Searching For Sugar Man”

Best Animated Film:  “ParaNorman”

Best Actress:  Jessica Chastain – “Zero Dark Thirty”

Best Actress in a Supporting Role:  Anne Hathaway – “Les Miserables”

Best Actor:  Daniel Day Lewis – “Lincoln”

Best Actor in a Supporting Role:  Phillip Seymour Hoffman – “The Master”

Best Ensemble Cast:  “Silver Linings Playbook”

Best Editing:  William Goldenberg, Dylan Tichenor – “Zero Dark Thirty”

Best Cinematography:  Claudio Miranda – “Life of Pi”

Best Film Music or Score:  Dan Romer, Benh Zeitlin – “Beasts of the Southern Wild”

Best Non-English-Language Film:  “Amour”

EDA FEMALE FOCUS AWARDS:
These awards honor WOMEN only.

Best Woman Director:  Kathryn Bigelow – “Zero Dark Thirty”

Best Woman Screenwriter:  Lucy Alibar (and Benh Zeitlin) – “Beasts of the Southern Wild”
Kick Ass Award For Best Female Action Star:  Jennifer Lawrence – “The Hunger Games”

Best Animated Female:  Merida (Kelly Macdonald) – “Brave”

Best Breakthrough Performance:  Quvenzhané Wallis – “Beasts of the Southern Wild”

Actress Defying Age and Ageism:  Judi Dench – “Skyfall”

AWFJ Award for Humanitarian Activism – Female Icon Award, presented to an actress for the portrayal of the most positive female role model, or for a role in which she takes personal and/or career risks to plumb the female psyche and therefore gives us courage to plumb our own, and/or for putting forth the image of a woman who is heroic, accomplished, persistent, demands her rights and/or the rights of others:
Jessica Chastain – “Zero Dark Thirty”

This Year’s Outstanding Achievement By A Woman In The Film Industry, presented only when warranted to a female who has had a banner–making, record–breaking, industry–changing achievement during any given year:
Women Documentary Filmmakers – including Heidi Ewing and Rachel Grady (“Detropia”), Lauren Greenfield (“Queen of Versailles”), Alison Klayman (“Ai Weiwei Never Sorry”) and Sarah Burns (“The Central Park Five”).

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“I’m an ardent consumer of Fassbinder. Years ago, when I heard that he was a big admirer of Douglas Sirk, I went straight to the source — to the buffet Fassbinder dined out on — and found that there was plenty more. And what palettes! I love the look of Fassbinder movies. Some of them are also hideous in a way that’s really exciting. When you go to Sirk, it’s more standardized. The movies produced by Ross Hunter — those really lush, Technicolor ones. I know Sirk was a painter and considered himself a painter first for a long time. He really knew how to work his palettes and worked closely with whatever art director he had. I was a guest speaker for the Technicolor series at TIFF Bell Lightbox and we screened Magnificent Obsession. To prepare for that, I watched the movie with a pen and paper. I wroteto down the names of the palettes. Soon, I realized those general color terms weren’t good enough. I used to be a house painter and I remembered the great names of the 10,000 different colors you could get in a paint chip book. So, I started to try to name the colors. Sirk used 100 different off-whites, especially in the surgery scenes in Magnificent Obsession!”
~ Guy Maddin On Sirk And Fassbinder

“I’ve never been lumped in with other female directors. If anything, I’ve been compared way too much to male filmmakers whom I have little to nothing in common with except visual style. It’s true that women’s filmmaking is incredibly diverse, but I am personally interested in how female consciousness might shape artwork differently, especially in the way female characters are constructed. So I actually would encourage people to try to group women’s films together to see if there are any threads that connect them, and to try to create a sort of canon of women’s films that critics can talk about as women’s films. One reason I want to be thought of as a female filmmaker is that my work can only be understood in that context. So many critics want to see my work as a pastiche of films that men have created. When they do that, they deny the fact that I am creating my own world, something completely original. Women are so often thought of as being unable to make meaning. So they are allowed to copy what men make—to make a pastiche out of what men have created—but not to create original work. My work comes from a place of being female, and rewrites film genres from that place. So it’s essential for me to be placed into a history of female-feminist art-making practice, otherwise it’s taking the work completely out of context.”
~ Love Witch Writer-Designer-Director Anna Biller