By Ray Pride


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.

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.

2012 EDA Awards Winners


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”

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”).

Leave a Reply

Quote Unquotesee all »

“At a recent screening of Creed, as the familiar fanfare of Bill Conti’s beloved Rocky score signaled the start of the final round of the big fight, the audience burst into spontaneous applause. This was no sneak-preview crowd, primed with free admission and popcorn, but a room full of critics and journalists armored in professional skepticism. A cynic might say that the cheering was a Pavlovian reflex set off by a piece of commercial entertainment in the hands of a skilled, manipulative director. This cynic, however, was too busy choking up and clapping to form the thought.”
A. O. Scott On Creed

The physical object is so banalized nowadays, you have to bring something else. And the audience is completely ready to get that, and want that, voilà. It’s difficult because it’s a lot of work and there are a lot of requirements, but you have to try to be more and more unique; if not, you’re just releasing a DVD in the old way, and even if a title might interest some cinephiles, it won’t be enough regarding the fact that they could see on S-VOD for ten bucks hundreds of movies. So how do you bring this audience who’s continuing following you because they have the same feeling of cinephilia to acquire what you’re releasing ? And even though we can see of course that the 3000-limited-edition of Body Double is to be able to go out-of-print very quickly, at the same time it will increase interest on the title itself.
~ Carlotta Films’ Vincent Paul-Boncour