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BEST FEMALE ACTION HERO
Briana Middleton, Sharper
Jennifer Lopez, The Mother
BEST DIRECTRESS: COURAGE IN FILMMAKING
Alice Troughton, The Lesson
Frances O'Connor, Emily
COURAGE IN ACTING
[Taking on unconventional roles that radically redefine the images of women on screen]
Emma Stone - Poor Things
Tia Nomore - Earth Mama
WOMEN'S WORK - BEST ENSEMBLE CAST
How to Blow Up A Pipeline - Ariela Barer, Sasha Lane, Kristine Froseth & Jayme Lawson
The Taste Of Things
THE INVISIBLE WOMAN AWARD
[Supporting performance by a woman whose exceptional impact on the film dramatically, socially or historically, has been ignored]
Roberta Colindrez, Cassandro
Ronke Adekoluejo, Chevalier (constant voice in Chevalier de Saint-Georges' head)
BEST KEPT SECRET - Overlooked Challenging Film Gems
Our (Almost Completely True) Love Story
The Kill Room
WOMEN SAVING THEMSELVES AWARD
Ghosted
Memory
MOMMIE DEAREST WORST SCREEN MOM OF THE YEAR
Julianne Moore, May December
HALL OF SHAME
'Unique, provocative and stylishly opinionated'...Fasten your seat belts!
[Individual WFCC Member Picks]
Priscilla is a listless, boring movie with no Elvis Presley music about a Nepo wife whose only claim to fame is being married to Elvis.
May December is just another sick habit of Hollywood exploiting and promoting a horrible, vile, immoral crime ripped from the headlines just to make money with no creative thinking at all involved.
Poor Things - falls into the male gaze with its depiction of an infantilized woman.
Boo To The Oscars: For snubbing the female director and star of the feminist comedy Barbie, while nominating the male supporting actor, Ken.
Shame on Spyglass Films for firing Mexican actress Melissa Barerra from Scream 7, her third Scream sequel, for courageously advocating a humanitarian ceasefire in Gaza. The star of 'In The Heights' has however defiantly continued her support for Palestine by speaking out - turning up at Sundance this month to join a Pro-Palestinian march at the Festival while promoting her next film there, seemingly ironically titled in her struggle against censorship, 'Your Monster.'
The Drew Barrymore Show - for ignoring their three women writers (Cristina Kinon, Elizabeth Koe, and Chelsea White), and announcing that they wanted to resume filming during the WGA strike.
Magic Mike's Last Dance - I cringed at the thought that a woman can't find her sexuality unless she gets a lap dance. Admittedly, Mr. Tatum does rouse the hormones, but the idea that a woman of putative power, talent, and brains needs a man to make it all happen for her, well, feh.
No Hard Feelings: Crosses the line, several ways, several times. It is the lowest kind of humor and at times even veers racist and homophobic. The producers probably think they were flipping the script by putting a woman in the sexist, douchey lead role, but really they just perpetuated that demeaning trope. They think they're being meta and woke when actually they're just deeply offensive. When the audience laughs, they don't get the irony, they just think it's okay to laugh along with misogyny again.
A Good Person: The modern Oxycontin crisis is represented here by Florence Pugh, as overwhelmingly white, when the war on drugs has consistently vilified drug addicts in cases where the drug of choice was largely used by the black community...The whitewashing and sanitizing of drug addiction here is rampant and insulting. The film does a disservice to individuals and families of any color actually experiencing the effects of drug addiction. Our beautiful, middle-class, white heroine is always painted in a light that makes her seem like an innocent victim, as opposed to all the years we’ve consumed media telling us the opposite about drug addicts of any other color. Even the teenager in the black family is demonized more for the way she deals with her trauma than the lead character.
