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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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