The Films of 2013. The 14th annual FiLM BiTCH Awards
PICTURE | ACTING | VISUALS | AURALS | EXTRAS | SPECIAL | SCENES
Best Costume Design |
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Patricia Norris
12 YEARS A SLAVE |
Michael Wilkinson
AMERICAN HUSTLE |
Paco Delgado
BLANCANIEVES |
Catherine Martin
THE GREAT GATSBY |
Daniel Orlandi
SAVING MR BANKS |
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Southern belles, hierarchical plantation costuming, and lots of extras - Norris has been on a roll after a years away from the craft
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A cleavage contest for the ages, role play wear, and dead sexy disco duds but no costumes are interchangeable and tied (or double sided taped) to memorable characterizations |
 One of the most exciting designers working. From ornate toreador wear to circus dwarves and wicked diva stepmother it's black and white gorgeousity |
 ohmygod that pink suit. And that's just the beginning of the orgiastic beauty of the clothes here from the low class gaudy to the obscenely expensive suits and gowns |
P.L Travers' costumes are the perfect accessory to her stiff temperament but texture and color and multiple time frames add variety to this beautifully costumed movie.
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| Finalists: Suzy Benzinger does brilliant work on the lead character in Blue Jasmine Semi-Finalists: Michael O' Connor for The Invisible Woman, William Chang for The Grandmaster, Ruth E Carter for Lee Daniels the Butler, Kurt & Bart did multiple films this year but their work on Stoker was the most memorable, Casey Storm gently pushed the future with memorable non-current trends for everyday clothing in Her |
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Best Cinematography |
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 Sean Bobbit12 YEARS SLAVE Few films this year benefited as much from their cinematography. So much mood and variety in the light here from candles to oppressive sun |
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Emmanuel LubezkiGRAVITY Difficult to know where the lighting ends and the computer begins but this sure is a beauty and Lubezki is a bonafide genius. |
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Hoyt van Hoytema
HER An amazing balancing act between the soft and chilly. Delicate handling of quiet moods within vibrant colors [More on this film's gorgeous work] |
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Roger Deakins
PRISONERS From tiny spots of light on tortured (literal) prisoners to the use of silhouette and flashlight, it's all just gripping and attuned to the film's emotional and narrative trajectory |
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Benoît Debie SPRING BREAKERS Arguably the year's most simultaneously hypnotic and disturbing visuals. Such great play with flourescents and interiors as well as that unreal sunset sequence |
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Finalists: Christopher Blauvelt and Harris Savides insure that the latest Sofia Coppola The Bling Ring fits neatly into the dreamy visuals in her filmography, and Sergio Armstrong achieves an unenviable task with low-fi cinematography meant to ape ugly 80s vhs aesthetics in the great Chilean film No |
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Best Production Design |
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Adam Stockhausen 12 YEARS A SLAVE An about face from his recent work with Wes Anderson from the storefronts and townhouses of NY to the slave quarters and mansions of 19th century South |
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Santo Loquasto
BLUE JASMINE Bohemian diy San Francisco chic meets previously interior decorated to death Jasmine. Gorgeous work as ever from Loquasto |
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Andy Nicholson
GRAVITY Believable space stations, iconic imagery (love the parachute) and a totally coherent vision in this technical marvel |
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Stefania CellaTHE GREAT BEAUTY Just one amazing still (but moving) life tableau after another utilizing fabrics, furniture, statues, mansions, offices, animals and humans as props |
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 K.K. BarrettHER An amazingly full and believeable near future LA, with its own glassy transparency, bright colors, and video games |
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Finalists: Darren Gilford for Oblivion, Alexander DiGerlando for The East, Alain Banée for Blancanieves |
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Best Editing |
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Joe Walker
12 YEARS A SLAVE |
Christopher Rouse
CAPTAIN PHILLIPS |
Jennifer Lame
FRANCES HA |
Andrea Chignoli
NO |
Roger Barton & Matt Chesse |
 Beautifully timed cuts add tremendously to the sobering drama. |
Tight as a drum and it needs to be to succeed. Most films with rapid cutting aren't this in control of it. |
 A playful battle between restless youthful energy and directionless stasis. Scenes popping suddenly or flattening out. |
Seamlessly shuffling between retro footage, recreated truths and the fictional film |
The vignette style works against a tense through line but they achieve it anyway, amping up the potential for terror always |
| Finalists: Nat Sanders for Short Term 12, Alfonso Cuarón and Mark Sanger for Gravity, Joel Cox & Gary Roach for Prisoners Semi-Finalists: Douglas Crise for Spring Breakers, Peter S Elliot and Jeffrey Ford for Iron Man 3 |
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MakeUp and Hairstyling |
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AMERICAN HUSTLE
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BLANCANIEVES
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DALLAS BUYERS CLUB
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THE GREAT GATSBY
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WARM BODIES
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 pink rollers, toupee opening, the skunk stripe, the pompadour and the fact that Adams and Lawrence have never looked this enticing. I hope the makeup artist said "Thank God for Me" on set |
Circus-ready extremes on the dwarves, and dramatically severe wicked stepmother and the beauty of Blancanieves |  Low budget trans looks for Rayon, and subtle variations in deteriotating health throughout |
So much handsome coiffing going on - everyone looks so glam and love the more extreme looks for Myrtle & Jordan |
How do you make a zombie sexy but still undead. Clever work and the slow fade of zombieness |
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Finalists: Love that wreckage of Jasmine French's dyejob towards the end of Blue Jasmine, and the wear and tear on Solomon Northup and terrible scarring throughout 12 Years a Slave |
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Visual Effects |
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GRAVITY
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IRON MAN 3
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THE LONE RANGER
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MAN OF STEEL
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OBLIVION
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Really pushing the envelope and visually it's a wow |
those flying armor pieces. the cavalry, "that was really violent" |
too bad about the movie but the train sequences are quite something | you'll believe a man can fly and that he came from somewhere that isn't so much Krypton as Pandora with less fluorescence |
too bad about the movie but it sure is pretty to look at with fine art direction and effects |
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Finalists: Elysium, World War Z I did not see: The Hobbit 2, Star Trek or Pacific Rim but you can't see everything. |
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The Films of 2013. The 14th annual FiLM BiTCH Awards
PICTURE | ACTING | VISUALS | AURALS | EXTRAS | SPECIAL | SCENES