By Ray Pride Pride@moviecitynews.com

Los Angeles Film Critics List 2016 Winners

Posted Sunday, December 4th, 2016 - Comments Off on Los Angeles Film Critics List 2016 Winners
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LOS ANGELES FILM CRITICS ASSOCIATION
ANNOUNCE 2016 AWARD WINNERS

 

LOS ANGELES, DECEMBER 4, 2016 – “Moonlight” won for Best Picture of the Year, it was announced today by Claudia Puig, President of the Los Angeles Film Critics Association (LAFCA).

“It’s been an extraordinary year for movies. Moonlight was clearly loved by many in the group, but we also came up with a varied and diverse slate of winners in all our categories. Congratulations to all the winners. We look forward to seeing them at our awards dinner on January 14th,” said Puig, on this year’s awards.

The 42nd annual Los Angeles Film Critics Association awards ceremony will be held Saturday, January 14th at the InterContinental, Los Angeles. As previously announced, Shirley MacLaine will receive the 2016 Career Achievement Award.

Award winners are:

PICTURE: “Moonlight”
Runner-up: “La La Land”

DIRECTOR: Barry Jenkins, “Moonlight”
Runner-up: Damien Chazelle, “La La Land”

ACTOR: Adam Driver, “Paterson”
Runner-up: Casey Affleck, “Manchester by the Sea”

ACTRESS: Isabelle Huppert, “Elle” and “Things to Come”
Runner-up: Rebecca Hall, “Christine”

SUPPORTING ACTOR: Mahershala Ali, “Moonlight”
Runner-up: Issey Ogata, “Silence”

SUPPORTING ACTRESS: Lily Gladstone, “Certain Women”
Runner-up: Michelle Williams, “Manchester by the Sea”

SCREENPLAY: Efthymis Filippou and Yorgos Lanthimos, “The Lobster”
Runner-up: Kenneth Lonergan, “Manchester by the Sea”

ANIMATION: “Your Name”
Runner-up: “The Red Turtle”

FOREIGN LANGUAGE FILM:  “The Handmaiden”
Runner-up:  “Toni Erdmann”

DOCUMENTARY / NON-FICTION FILM: “I Am Not Your Negro”
Runner-up: “O.J.: Made in America”

NEW GENERATION: Trey Edward Shults and Krisha Fairchild, “Krisha”

FILM EDITING: Bret Granato, Maya Mumma, Ben Sozanski, “O.J.: Made in America”
Runner-up: Tom Cross, “La La Land”

CINEMATOGRAPHY: James Laxton, “Moonlight”
Runner-up: Linus Sandgren, “La La Land”

PRODUCTION DESIGN: Ryu Seong-hee, “The Handmaiden”
Runner-up: David Wasco, “La La Land”

MUSIC/SCORE: Justin Hurwitz, Benj Pasek, Justin Paul, “La La Land”
Runner-up: Mica Levi, “Jackie”

DOUGLAS E. EDWARDS INDEPENDENT/EXPERIMENTAL FILM/VIDEO: “The Illinois Parables,” from writer-director Deborah Stratman

SPECIAL CITATION: Turner Classic Movies, for preserving historic cinema and bringing it to a wider audience via FilmStruck

CAREER ACHIEVEMENT: Shirley MacLaine

Founded in 1975, The Los Angeles Film Critics Association (LAFCA) is comprised of Los Angeles-based, professional film critics working in the Los Angeles print and electronic media.  Each December, LAFCA members vote on the year’s Achievement Awards, honoring screen excellence on both sides of the camera. Plaques of recognition are then presented to winners during LAFCA’s annual awards ceremony, held in mid-January.

Aside from honoring each year’s outstanding cinematic achievements, LAFCA has also made it a point to look back and pay tribute to distinguished industry veterans with its annual Career Achievement Award, which is announced in October, as well as to look forward by spotlighting fresh, promising talent with its annual New Generation Award.  In addition, over the past three decades, LAFCA has sponsored and hosted numerous film panels and events and donated funds to various Los Angeles film organizations, especially where film preservation was concerned.  LAFCA members have also collectively been vocal about taking up causes they have felt passionate about, from drafting formal protests against censorship and colorization to lending their support to controversial films.

For a full list of voting members, visit: http://www.lafca.net/members.html
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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon