By MCN Editor editor@moviecitynews.com

Philadelphia Film Critics Circle Nod Roma as Best Film, Cinematography and Foreign Film

December 8, 2018

PHILADELPHIA FILM CRITICS CIRCLE NAMES ROMA THE BEST FILM OF 2018 

Philadelphia, PA- The Philadelphia Film Critics Circle today voted on its second annual year-end awards, and the choice for Best Movie was Alfonso Cuaron’s Roma. 

Roma also won awards for Best Cinematography and Best Foreign Film. Tying Roma for the most awards, with three, was If Beale Street Could Talk. From that film, Barry Jenkins won the award for Best Director, Regina King for Best Supporting Actress, and Kiki Layne for Best Breakthrough Performance. 

After four rounds of balloting, when no other category required more than two, Viola Davis won the Best Actress award for Widows. In addition, Christian Bale won Best Actor for Vice.

Richard E. Grant won Best Supporting Actor for Can You Ever Forgive MeThe Incredibles 2 was the winner of Best Animated Film, and Won’t You Be My Neighbor was the choice for Best Documentary. Suspiria was the winner for Best Soundtrack/Score, Boots Riley was awarded Best Directorial Debut for Sorry to Bother You,while the late Audrey Wells won Best Script for The Hate U Give. 

For its two special awards, the Steve Friedman Award- for a person or film that drives major public discourse on a topic or issue, went to Black Panther. And the Elaine May award, for a deserving person or film that brings awareness to women’s issues, went to RBG. 

“It was an eclectic year for films of all types, and they that showed through in our results. I couldn’t be happier,” said Rich Heimlich, cofounder of the critics circle. 

This was the second year of awards since the Circle’s inception in 2017; Get Out was the 2017 winner for Best Movie. 

Full list of winners: 

Best Movie: Roma

Best Director: Barry Jenkins, If Beale Street Could Talk 

Best Actor: Christian Bale, Vice

Best Actress: Viola Davis, Widows 

Best Supporting Actor: Richard E. Grant, Can You Ever Forgive Me

Best Supporting Actress: Regina King, If Beale Street Could Talk 

Best Foreign Film: Roma (Mexico) 

Best Animated Film: The Incredibles 2

Best Documentary: Won’t You Be My Neighbor 

Best Cinematography: Roma (Alfonso Cuaron) 

Best Breakthrough Performance: Kiki Layne, If Beale Street Could Talk 

Best Directorial Debut: Boots Riley, Sorry To Bother You 

Best Script: Audrey Wells, The Hate U Give 

Best Score/Soundtrack: Suspiria (Thom Yorke) 

Elaine May Award: RBG 

Steve Friedman Award: Black Panther. 

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One Response to “Philadelphia Film Critics Circle Nod Roma as Best Film, Cinematography and Foreign Film”

  1. I’m super glad Roma won. It 100% deserved it.

    The Incredibles 2, on the other hand…

Quote Unquotesee all »

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