The Women Film Critics Circle 2022 – Ganadores
El Women Film Critics Circle anunció los nominados para las mejores películas de 2022 hechas por y sobre mujeres el 14 de diciembre de 2022. Los ganadores se anunciaron el 19 de Diciembre.
Tienen en consideración los logros destacados de mujeres, que rara vez llegan a ser honrados históricamente en el mundo del cine.
The Women Film Critics Circle es una asociación de mujeres, críticos de cine de todo el país y a nivel internacional, están involucradas en prensa, radio, Internet y los medios de difusión televisiva.
Finalistas en negrita y ganadores en verde.
MEJOR PELÍCULA SOBRE MUJERES
The Woman King
MEJOR PELÍCULA HECHA POR UNA MUJER
Don’t Worry Darling – Olivia Wilde
Till – Chinonye Chukwu
The Woman King – Gina Prince-Bythewood
Women Talking – Sarah Polley
MEJOR GUIONISTA FEMENINA
Rebecca Lenkiewicz – She Said
Emma Donoghue – The Wonder
Dana Stevens (and Maria Bello, story) – The Woman King
Sarah Polley – Women Talking
Vicky Krieps – Corsage
Michelle Yeoh – Everything Everywhere All at Once
Danielle Deadwyler – Till
Cate Blanchett – TAR
Colin Farrell – The Banshees of Inisherin
Ke Huy Quan – Everything Everywhere All at Once
Bill Nighy – Living
Brendan Fraser – The Whale
MEJOR PELÍCULA EXTRANJERA HECHA POR UNA MUJER O SOBRE MUJERES
MEJOR DOCUMENTAL POR UNA MUJER O SOBRE MUJERES
Lucy and Desi
Won’t Back Down
MEJOR PAREJA EN PANTALLA
Olivia Colman and Micheal Ward – Empire of Light
Michelle Yeoh and Ke Huy Quan – Everything Everywhere All at Once
Kevin Kline & Sigourney Weaver – The Good House
Emma Thompson and Daryl McCormack – Good Luck To You, Leo Grande
MEJOR IGUALDAD DE SEXOS
Black Panther: Wakanda Forever
Fire of Love
Good Luck To You, Leo Grande
The Woman King
MEJOR MUEJER ANIMADA
Izzy Hawthorne – Lightyear
Belle Bottom – Minions: The Rise of Gru
Meilin – Turning Red
MEJOR SERIE DE TV
Dead to Me
The Handmaid’s Tale
ACTUACIÓN Y ACTIVISMO
PREMIO A TODA UNA CARRERA
ADRIENNE SHELLY AWARD – A la que con más pasión se opone a la violencia contra las mujeres
Don’t Worry Darling
JOSEPHINE BAKER AWARD – Por expresar la experiencia de las mujeres de America
KAREN MORLEY AWARD – Por la mejor explicación sobre el lugar de una mujer en la historia, sociedad y una búsqueda de identidad con valor
The Drover’s Wife: The Legend of Molly Johnson
The Woman King
THE WOMEN FILM CRITICS CIRCLE PAULINE KAEL JURY AWARDS 2022
BEST FEMALE ACTION HERO
Keke Palmer, Alice
BEST DIRECTRESS: COURAGE IN FILMMAKING
Olivia Wilde, Don’t Worry Darling
COURAGE IN ACTING [Taking on unconventional roles that radically redefine the images of women on screen]
Danielle Deadwyler, Till
Anamaria Vartolomei, Happening
WOMEN’S WORK – BEST ENSEMBLE CAST
The Woman King
THE INVISIBLE WOMAN AWARD [Supporting performance by a woman whose exceptional impact on the film dramatically, socially or historically, has been ignored]
Charmaine Bingwa, Emancipation
BEST KEPT SECRET – Overlooked Challenging Film Gems
Amitabh Reza Chowdhury, Rickshaw Girl
Nana Mensah, Queen Of Glory
WOMEN SAVING THEMSELVES AWARD
MOMMIE DEAREST WORST SCREEN MOM OF THE YEAR
Blonde, Julianne Nicholson as Gladys
HALL OF SHAME
‘Unique, provocative and stylishly opinionated’…Fasten your seat belts! [Individual WFCC Member Picks]
*The Gotham Awards. For removing the category Best Actress, in the further erasing of women.
*Anatomy Citation. “It doesn’t matter how much I do, I’m still not going to get paid as much as that guy, because of my vagina.” – Jennifer Lawrence speaks out against the continuing literal shortchanging of actresses – regarding Lawrence paid five million dollars less than Leonardo DiCaprio for “Don’t Look Up,” and less than the male cast Bradley Cooper, Christian Bale and Jeremy Renner for “American Hustle.”
*Cringe Citation. Harvey Weinstein’s shameful audiotape recordings. And being reminded of them/him in “She Said.”
*Too Much Information Citation: Emma Thompson, for “Good Luck To You, Leo Grande.”
*Blonde. For depicting only the worst fantasies about Marilyn Monroe, and none of her beauty, grace and intelligence.
*More Blonde. A film that re-exploited Marilyn Monroe and made me feel bad for her. She never had a chance in a man’s world, and this film exploited her again through the unnecessary explicit scenes.
*And More Blonde. An overrated actress romping through the film exposing herself. And why the constant showing of embryos, is it to champion pro-lifers.
*Even More Blonde. Completely inaccurate. The portrayal of the actress is shallow and cliched, and the part of the speaking embryo comes across as a disquieting anti-abortionist statement. My review…
*She Said. A drama about the NY Times investigation into the sex charges against Harvey Weinstein, “She Said” comes off more as a self-congratulatory promo for the NY Times, than emphasis on its victims and intimating a kind of damage control there for its own numerous scandals – the weapons of mass destruction hoax, and most recently calling for the release of Julian Assange – without an apology for the paper’s media participation in orchestrating his incarceration.
*The Cannes Film Festival. For disrespecting credentialed Deadline critic and distinguished WFCC member Valerie Complex, treating her with racist implications as an intruder there. On Being Black At Cannes: How Microaggressions Marred My Festival Experience
* Shame On DOC NYC. For announcing then scrubbing the name off their public list, secretly inviting as guest of honor a cinematographer from the Ukraine Neo-Nazi Azov Battalion, Dmytro Kozatsky, who sports Nazi tattoos, and is fond of creating photographs of swastika carved pizzas, while dragging out from the premises a young woman protesting the event.
Web: WFCC, Critical Women, @WfccWomen
Via Film Actual
*ADRIENNE SHELLY AWARD: Adrienne Shelly was a promising actress and filmmaker who was brutally strangled in her apartment in 2006 at the age of forty by a construction worker in the building, after she complained about noise. Her killer tried to cover up his crime by hanging her from a shower20rack in her bathroom, to make it look like a suicide. He later confessed that he was having a “bad day.” Shelly, who left behind a baby daughter, had just completed her film Waitress, which she also starred in, and which was honored at Sundance after her death.
*JOSEPHINE BAKER AWARD: The daughter of a laundress and a musician, Baker overcame being born black, female and poor, and marriage at age fifteen, to become an internationally acclaimed legendary performer, starring in the films Princess Tam Tam, Moulin Rouge and Zou Zou. She also survived the race riots in East St. Louis, Illinois as a child, and later expatriated to France to escape US racism. After participating heroically in the underground French Resistance during WWII, Baker returned to the US where she was a crusader for racial equality. Her activism led to attacks against her by reporter Walter Winchell who denounced her as a communist, leading her to wage a battle against him. Baker was instrumental in ending segregation in many theaters and clubs, where she refused to perform unless integration was implemented.
*KAREN MORLEY AWARD: Karen Morley was a promising Hollywood star in the 1930s, in such films as Mata Hari and Our Daily Bread. She was driven out of Hollywood for her leftist political convictions by the Blacklist and for refusing to testify against other actors, while Robert Taylor and Sterling Hayden were informants against her. And also for daring to have a child and become a mother, unacceptable for female stars in those days. Morley maintained her militant political activism for the rest of her life, running for Lieutenant Governor on the American Labor Party ticket in 1954. She passed away in 2003, unrepentant to the end, at the age of 93.