‘Banshees of Inisherin’ and ‘Everything Everywhere All at Once’ Tie For Most Wins in Alliance of Women Film Journalists’ EDA Awards

‘Banshees of Inisherin’ and ‘Everything Everywhere All at Once’ Tie For Most Wins in Alliance of Women Film Journalists’ EDA Awards

BANSHEES wins Best Film, but Sarah Polley scores best Director for WOMEN TALKING. In our Female Focus sections, Viola Davis gets the nod for Outstanding Achievement and Danielle Deadwyler’s turn in TILL is designated the Breakthrough Performance of 2022. Emma Thompson takes AWFJ’s Grand Dame title and is honored for the bravest performance for GOOD LUCK TO YOU, LEO GRANDE. The talented Ana de Armas is deemed most deserving of a new agent to get her roles in better projects than BLONDE.

AWFJ has presented annual EDA Awards for 16 years, representing professional women critics’ collective perspectives on movies and cinema culture in the movie awards arena, where female critics and critical opinion are still greatly underrepresented. AWFJ honors female creatives in non-gender specific awards categories and in unique Female Focus categories designated for women only.  

“We are particularly proud that this year’s member-determined roster of nominees included a goodly number of female contenders in non-gender specific categories. and that we have female winners in those categories, as well, including Sarah Polley who receives the EDA Award for Best Director for the multi-nominated and awarded WOMEN TALKING.” said Jennifer Merin, President of the 95 members AWFJ. “We hope to see similar results at this year’s Oscars and various guild awards. as well as with other critics awards groups.” 

In preparation for the awards season, AWFJ tracks femme-helmed and femme-centric films released throughout the year. The 2022 list of EDA Award-eligible femme-helmed and/or femme-centric films includes more than 500 titles. Many of these female made movies are small budget productions that receive neither wide distribution nor critical consideration. This staggering number of independently produced films indicates the high level of female filmmaker proactivity in contradiction to the grim statistics consistently reported in major studies about female film production. AWFJ advocates for acknowledgment of these films and recognition for their filmmakers. 

Note: PopLifeSTL.com Managing Editor and Founder Lynn Venhaus has been a member of AWFJ since 2014, along with St. Louis colleagues Martha Baker, Diane Carson and Cate Marquis and former St. Louisan Michelle (McCue) Hannett, , managing editor of We Are Movie Geeks.


AWFJ BEST OF AWARDS

These awards are presented to women and/or men without gender consideration

Best Film

Colin Farrell and Kerry Condon in the film THE BANSHEES OF INISHERIN. Photo by Jonathan Hession. Courtesy of Searchlight Pictures. © 2022 20th Century Studios All Rights Reserved
  • THE BANSHEES OF INISHERIN
  • EVERYTHING EVERYWHERE ALL AT ONCE
  • THE FABELMANS
  • TAR
  • THE WOMAN KING
  • WOMEN TALKING

Best Director

  • The Daniels – EVERYTHING EVERYWHERE
  • Martin McDonagh – THE BANSHEES OF INISHERIN
  • Sarah Polley – WOMEN TALKING
  • Gina Prince-Bythewood – THE WOMAN KING
  • Steven Spieiberg – THE FABELMANS
  • Charlotte Wells – AFTERSUN

Best Screenplay, Original

  • AFTERSUN – Charlotte Wells
  • THE BANSHEES OF INISHERIN – Martin McDonagh
  • EVERYTHING EVERYWHERE – the DANIELS
  • THE FABELMANS – Steven Spielberg and Tony Kushner
  • TAR – Todd Field
  • THE WOMAN KING – Dana Stevens and Maria Bello

Best Screenplay, Adapted

  • ALL QUIET ON THE WESTERN FRONT – Edward Berger, Lesley Patterson, Ian Stokell
  • GLASS ONION – Rian Johnson
  • SHE SAID – Rebecca Lenkiewicz
  • THE WHALE – Samuel D. Hunter
  • WOMEN TALKING – Sarah Polley and Miriam Toews
  • THE WONDER – Alice Birch, Emma Donoghue, Sebastian Lelio

Best Documentary

  • ALL THAT BREATHES – Shaunak Sen
  • ALL THE BEAUTY AND THE BLOODSHED – Laura Poitras
  • DESCENDANT – Margaret Brown
  • FIRE OF LOVE – Sara Dosa
  • GOODNIGHT OPPY – Ryan White
  • THE JANES – Tia Lessen and Emma Pildes

Best Animated Film

  • GDT’S PINOCCHIO – Guillermo del Toro and Mark Gustafson
  • MARCEL THE SHELL WITH SHOES ON – Dean Fleischer-Camp
  • PUSS IN BOOTS: THE LAST WISH – Joel Crawford and Januel Mercado
  • THE SEA BEAST – Chris Williams
  • TURNING RED – Domee Shi
  • WENDELL & WILD – Henry Selick

Best Actress

  • Cate Blanchett – TAR
  • Viola Davis – THE WOMAN KING
  • Danielle Deadwyler – TILL
  • Vicki Krieps – CORSAGE
  • Emma Thompson – GOOD LUCK TO YOU, LEO GRANDE
  • Michelle Yeoh – EVERYTHING EVERYWHERE

Best Actress in a Supporting Role (tie)

  • Angela Bassett – WAKANDA FOREVER
  • Jessie Buckley – WOMEN TALKING
  • Hong Chau – THE WHALE
  • Kerry Condon – THE BANSHEES OF INISHERIN
  • Jamie Lee Curtis – EVERYTHING EVERYWHERE
  • Janelle Monae – GLASS ONION

Best Actor

  • Austin Butler – ELVIS
  • Colin Farrell – THE BANSHEES OF INISHERIN
  • Brendan Fraser – THE WHALE
  • Paul Mescal – AFTERSUN
  • Bill Nighy – LIVING
  • Jeremy Pope – THE INSPECTION

Best Actor in a Supporting Role

  • Brendon Gleeson – THE BANSHEES OF INISHERIN
  • Brian Henry Tyree – CAUSEWAY
  • Barry Keoghan – THE BANSHEES OF INISHERIN
  • Eddie Redmayne – THE GOOD NURSE
  • Ke Huy Quan – EVERYTHING EVERYWHERE
  • Ben Wishaw – WOMEN TALKING

Best Ensemble Cast – Casting Director

  • THE BANSHEES OF INISHERIN – Louise Kiely
  • EVERYTHING EVERYWHERE – Sarah Finn
  • TRIANGLE OF SADNESS – Pauline Hansson
  • WAKANDA FOREVER – Sarah Finn
  • THE WOMAN KING – Aisha Coley
  • WOMEN TALKING – John Buchan and Jason Knight

Best Cinematography (tie)

  • BANSHEES OF INISHERIN – Ben Davis
  • THE FABELMANS – Janusz Kaminski
  • EMPIRE OF LIGHT – Roger Deakins
  • EVERYTHING EVERYWHERE – Larkin Seiple
  • TOP GUN: MAVERICK – Claudio Miranda
  • THE WOMAN KING – Polly Morgan

Best Editing

  • ELVIS – Jonathan Redmond and Matt Villa
  • EVERYTHING EVERYWHERE – Paul Rogers
  • TAR – Monika Willis
  • TOP GUN – Eddie Hamilton
  • THE WOMAN KING – Terilyn A. Shropshire
  • WOMEN TALKING – Christopher Donaldson, Rosalyn Kallop

Best Non-English-Language Film (tie)

  • ALL QUIET ON THE WESTERN FRONT
  • BARDO
  • DECISION TO LEAVE
  • HAPPENING
  • RRR
  • SAINT OMER

EDA FEMALE FOCUS AWARDS

These awards honor WOMEN only

Best Woman Director

WOMEN TALKING (2022) Rooney Mara, Claire Foy, and Jessie Buckley CR: Michael Gibson/United Artists Releasing
  • Chinoye Chukwu – TILL
  • Marie Kreutzer – CORSAGE
  • Gina Prince-Bythewood – THE WOMAN KING
  • Sarah Polley – WOMEN TALKING
  • Maria Schrader – SHE SAID
  • Charlotte wells – AFTERSUN

Best Woman Screenwriter

  • Alice Birch – THE WONDER and MOTHERING SUNDAY
  • Rebecca Lenkiewicz – SHE SAID
  • Sarah Polley and Miriam Toews – WOMEN TALKING
  • Domee Shi – TURNING RED
  • Dana Stevens and Maria Bello – THE WOMAN KING
  • Charlotte Wells – AFTERSUN

Best Animated Female

  • Connie – Isabella Rossellni MARCEL THE SHELL WITH SHOES ON
  • Izzy – Keke Palmer – LIGHTYEAR
  • Kat – Lyric Ross. WENDELL & WILD
  • Kitty Softpaws – Salma Hayed – PUSS IN BOOTS: LAST WISH
  • Mei – Rosalyn Chiang- TURNING RED
  • Ming – Sandra Oh – TURNING RED
Danielle Deadwyler in “Till”

Best Woman’s Breakthrough Performance

  • Frankie Corio – AFTERSUN
  • Danielle Deadwyler – TILL
  • Stephanie Hsu – EVERYTHING EVERYWHERE
  • Thuso Mbedu – THE WOMAN KING
  • Amber Midthunder – PREY
  • Sadie Sink – THE WHALE

Outstanding Achievement by A Woman in The Film Industry

  • Viola Davis – For getting THE WOMAN KING made as her lifetime passion project and creating opportunities for other women creatives.
  • Nina Menkes and Maria Giese for making BRAINWASHED, analyzing and illustrating the misogynistic representation of women in Hollywood movies.
  • Domee Shi for being the first woman to direct a film for Pixar and for becoming Pixar’s VP of Creative
  • Jacqueline Stewart for ongoing advocacy of the underrepresented and becoming president of the Academy Museum of Motion Pictures.
  • Michelle Yeoh- lifetime achievement award

EDA SPECIAL MENTION AWARDS

Grand Dame Award for Defying Ageism

Emma Thompson
  • Jamie Lee Curtis
  • Viola Davis
  • Emma Thompson
  • Michelle Yeoh

Most Egregious Lovers’ Age Difference Award

  • CONFESS FLETCH – Jon Hamm born 1971 and Lorenza Izzo born 1989
  • CRIMES OF THE FUTURE – Viggo Mortensen born 1958 and Lea Sedoux born 1985
  • DEEP WATER – Ben Affleck born 1972 and Ana de Armas born 1988
  • EIFEL – Romain Duris born 1974 and Emma Mackey born 1996

She Deserves A New Agent Award (NOTE: This is not a put down. On the contrary, it suggests that the actor is better than the role she’s been given.)

  • Ana de Armas for BLONDE
  • Bryce Dallas Howard for JURASIC WORLD DOMINION
  • Margot Robbie for BABYLON
  • Rebel Wilson for SENIOR YEAR

Most Daring Performance

  • Cate Blanchett – TAR
  • Viola Davis – THE WOMAN KING
  • Danielle Deadwyler – TILL
  • Emma Thompson – GOOD LUCK TO YOU, LEO GRANDE
  • Michelle Yeoh – EVERYTHING EVERYWHERE

Time Waster Remake or Sequel Award

  • FIRESTARTER
  • HALLOWEEN ENDS
  • JURASSIC WORLD DOMINION
  • PINOCCHIO (Disney)

AWFJ Hall of Shame Award (Women and men are eligible)

  • Alec Baldwin and the crew of RUST for continuing to deny responsibility for the on set shooting that killed cinematographer Halyna Hutchins. The situation is still messy. A wrongful death lawsuit was settled, but the criminal investigation continues. In November, Baldwin sued crew members for giving him the loaded prop gun that killed cinematographer Halyna Hutchins. News reports say Baldwin also texted Hutchins’s husband, Matthew, saying that the gun was never meant to be fired at a particular camera angle.
  • BLONDE and Andrew Dominik
  • Will Smith for his behavior at the Oscars and in the aftermath
  • Harvey Weinstein for everything and forever

ABOUT THE ALLIANCE OF WOMEN FILM JOURNALISTS
The Alliance of Women Film Journalists, Inc. (AWFJ) is a not-for-profit professional association of highly qualified female movie critics, reporters and feature writers working in print, broadcast and online media, dedicated 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 awards in recognition of outstanding accomplishments (the best and worst) by and about women in the movies. AWFJ was founded in 2006 by Jennifer Merin, Maitland McDonagh, Joanna Langfield and Jenny Halper. In addition to the year end awards, AWFJ presents EDA Awards at partner festivals, keeps an active and interactive record of fiction feature and documentary films by and/or about women, and/or are of particular interest to women because they focus on women’s issues. We welcome information that will allow us to keep our lists updated. Lists are made available to members and the general public on our Web site at AWFJ.org. For further information, contact AWFJ President Jennifer Merin at awfjinc@gmail.com.

‘The Banshees of Inisherin’ Is Powerful Story of Fractured Bonds

‘The Banshees of Inisherin’ Is Powerful Story of Fractured Bonds

By Alex McPherson

A tragicomedy that packs a massive emotional wallop, writer-director Martin McDonagh’s “The Banshees of Inisherin” is a near-perfect film, balancing its blisteringly entertaining dialogue with sobering pathos. As someone who considers “Three Billboards Outside Ebbing, Missouri” to be one of my favorite films of all time, McDonagh’s latest effort certainly doesn’t disappoint.

Set on an idyllic island off the west coast of Ireland in 1923 — shielded from the nearby civil war, yet remaining its own microcosm of turmoil and pettiness —  “The Banshees of Inisherin” follows Pádraic (Colin Farrell), an contented, amiable dairy farmer who makes up for his lack of sophistication with kindness. Living in a cottage with his loving sister Siobhan (Kerry Condon) and his beloved donkey Jenny, Pádraic is comfortable with his banal existence. Until, one day, there is a disturbance in the force.

Pádraic usually jaunts off to the local pub mid afternoon with his aging pal, Colm (Brendan Gleeson), but on this day in April when Pádraic stops by to meet Colm at his house, he’s completely ignored. In fact, Colm wants absolutely nothing to do with Pádraic anymore, declaring him, bluntly, to be too boring and dull to be worth hanging out with. Colm, suffering from “despair,” wants to leave a mark on the world through composing music, and is prepared to cut out anything that could possibly hold him back. Pádraic is utterly distraught, unwilling to accept Colm’s decision — which sets the stage for a typically McDonagh-esque comedy of errors, steeped with brutality, both physical and verbal, and leaving a tangibly potent impact.

Indeed, “The Banshees of Inisherin” blends hilarity with calamity, exaggeration with resonant, relevant themes. McDonagh explores the perils of ego, mental illness, isolation, mortality, and civil conflict with panache, imbuing the film with unpredictability from start to finish. 

Colin Farrell

The cast is stellar, especially the two leads, finally reuniting after “In Bruges.” Farrell brings yet another fascinatingly flawed character to life as Pádraic experiences a loss of innocence and of self amid the increasingly chaotic proceedings. While the initial setup is played for laughs, McDonagh understands the pain that Colm’s actions wreak upon Pádraic’s well-being — every sardonic quip and blunt takedown is tinged with melancholy. Farrell, as usual, gives a masterful performance, conveying deep wells of feeling through facial expressions alone.

Pádraic’s a sympathetic protagonist, despite his refusal to leave Colm alone. He wants to live a “simple” life and finds joy in the little things, like relaxing at the pub (essentially the town hall), and caring for Jenny. Colm’s actions, however, send him spiraling further and further from the person he thought he was, inching ever-closer to the despair that grips Colm’s soul, as tensions continue to escalate.

Colm’s motivations, despite his stubbornness, remain understandable. Gleeson, with a weathered visage and stern demeanor, lends sorrow to the character. Colm is experiencing an existential crisis, making a last-minute scramble to leave behind a legacy and become one of the greats, like Mozart (even though Pádraic’s never heard of him). His seemingly small actions have profound effects throughout the community, and his harsh decisions are rooted in self-loathing and misplaced pride.

This being a McDonagh joint, supporting players are given plenty of depth. Condon is superb as Pádraic’s sister, Siobhan, the wisest in the village who recognizes Colm’s absurd behavior, and struggles to rescue her brother from sinking to his lows. Wry, intelligent, and underestimated, Siobhan has a fantastic arc over the course of the film, and features in some of its most stirring sequences. Barry Keoghan is incredible as a foul-mouthed young man named Dominic — offbeat, enduring an abusive household with his sadistic policeman father, Peadar (Gary Lydon), yet searching for meaning, purpose, and belonging. Sheila Flitton is fittingly creepy as Mrs. McCormick, embodying a wiry old “banshee” who might, or might not, have some supernatural pull over the island — foretelling doom with a smirk. Who knows, maybe she just likes toying with people?

Colin Farrell, Kelly Condon

Oh, did I forget to mention that this film is funny? McDonagh’s screenplay keeps viewers on their toes, mixing earnest and sardonic, even cartoonish dialogue to thrilling effect. Particularly amusing is how wildly out-of-hand the whole situation gets. “The Banshees of Inisherin” walks a thin narrative tightrope — with over-the-top plot developments that segue into violence, tragedy, and reflection — but through it all, McDonagh ensures we’re in good hands.

The story and performances are the film’s main appeal, but “The Banshees of Inisherin” also shines stylistically. Ben Davis’ vibrant, lush cinematography captures the beauty of this fictional town, but paints a wryly misleading picture, as does Carter Burwell’s wistful score. The camera often frames Pádraic separated from Colm through doors and windows, highlighting the metaphorical chasm between them. Outside, the rolling green hills and bright sun belie an isolation that permeates the island’s residents.

For while a war rages across the mainland — neighbor against neighbor, friend against friend — a different, albeit not so different conflict ensues on Inisherin, between two friends questioning what’s truly important in life. “The Banshees of Inisherin” is, quite simply, unmissable, although viewers should be aware that it isn’t a traditional comedy in any sense of the word. It’s quite a wrenching ride at times, but one of 2022’s best.

“The Banshees of Inisherin” is a 2022 comedy-drama written and directed by Martin McDonagh starring Colin Farrell, Brendan Gleeson, Kerry Condon and Barry Keoghan. It’s rated R for language throughout, some violent content and brief graphic nudity, and the run time is 1 hour, 49 minutes. It is in local theaters Nov. 4. Alex’s Grade: A+  

Brendan Gleeson, Colin Farrell

Doc on Opioids Crisis, Blanchett, Farrell Win at Venice Film Fest

Doc on Opioids Crisis, Blanchett, Farrell Win at Venice Film Fest

FULL LIST OF WINNERS

COMPETITION
Golden Lion for Best Film: “All the Beauty and the Bloodshed,” Laura Poitras
Grand Jury Prize: “Saint Omer,” Alice Diop
Silver Lion for Best Director: “Bones and All,” Luca Guadagnino
Special Jury Prize: “No Bears,” Jafar Panahi
Best Screenplay: “The Banshees of Inisherin,” Martin McDonagh
Volpi Cup for Best Actress: “Tár,” Cate Blanchett
Volpi Cup for Best Actor: “The Banshees of Inisherin,” Colin Farrell
Marcello Mastroianni Award for Best Young Actor: “Bones and All,” Taylor Russell

HORIZONS
Best Film: “World War III,” Houman Seyyedi
Best Director: “Vera,” Tizza Covi and Rainer Frimmel
Special Jury Prize: “Bread and Salt,” Damian Kocur
Best Actress: “Vera,” Vera Gemma
Best Actor: “World War III,” Mohsen Tanabandeh
Best Screenplay: “Blanquita,” Fernando Guzzoni
Best Short Film: “Snow in September,” Lkhagvadulam Purev-Ochir

Cate Blanchett as Tar

LION OF THE FUTURE
Luigi de Laurentiis Award for Best Debut Feature: “Saint Omer,” Alice Diop

HORIZONS EXTRA
Audience Award: “Nezouh,” Soudade Kaadan

VENICE CLASSICS
Best Documentary of Cinema: “Fragments of Paradise,” K.D. Davison
Best Restored Film: “Branded to Kill,” Seijun Suzuki

VENICE IMMERSIVE
Best Immersive Experience: “The Man Who Couldn’t Leave,” Chen Singing
Grand Jury Prize: “From the Main Square,” Pedro Harres
Special Jury Prize: “Eggscape,” German Heller

VENICE DAYS (announced earlier)
Cinema of the Future Award: “The Maiden,” Graham Foy
Director’s Award: “Wolf and Dog,” Cláudia Varejão
People’s Choice Award: “Blue Jean,” Georgia Oakley

CRITICS’ WEEK (announced earlier)
Grand Prize: “Eismayer,” David Wagner
Special Mention: “Anhell69,” Theo Montoya
Audience Award: “Margini,” Niccolò Falsetti
Verona Film Club Award: “Anhell69,” Theo Montoya
Mario Serandrei – Hotel Saturnia Award for Best Technical Contribution: “Anhell69,” Theo Montoya
Best Short Film: “Puiet,” Lorenzo Fabbro and Bronte Stahl
Best Director (Short Film): “Albertine Where Are You?,” Maria Guidone
Best Technical Contribution (Short Film): “Reginetta,” Federico Russotto