'Amour' means love in London
"Amour," "Argo," "Beasts of the Southern Wild," "Life of Pi" and "The Master" were nominated for film of the year by the London Critics' Circle.
"Amour" was also nominated in the foreign-language category, alongside "Holy Motors," "Once Upon a Time in Anatolia," "Rust and Bone" and "Tabu," and also received three acting noms. A strong start to the week continued for "The Master," which did similarly well to "Amour" in picking up seven total noms, including writer, director and three for acting.
For top documentary, the nominees are "The Imposter," "London: The Modern Babylon," "Nostalgia for the Light," "The Queen of Versailles" and "Searching for Sugar Man."
Director noms diverged a bit from the film noms. While Michael Haneke of "Amour," Ang Lee of "Life of Pi" and Paul Thomas Anderson of "The Master" were consistent choices, other noms went to Kathryn Bigelow ("Zero Dark Thirty") and Nuri Bilge Ceylan of "Anatolia."
Anderson and Haneke were also nominated as top screenwriters, with Mark Boal ("Zero"), Quentin Tarantino ("Django Unchained") and Chris Terrio ("Argo").
In the acting categories, the most interesting noms were for lead actor Mads Mikkelsen of "The Hunt," Helen Hunt as a lead actress (instead of supporting) in "The Sessions," Michael Fassbender for supporting actor in "Prometheus" and Isabelle Huppert of "Amour" for supporting actress.
Also of note were the 10 nominees in technical achievement:
"Anna Karenina": Jacqueline Durran, costumes
"Argo": William Goldenberg, film editing
"Beasts Of The Southern Wild": Ben Richardson, cinematography
"Berberian Sound Studio": Joakim Sundstrom & Stevie Haywood, sound design
"Holy Motors": Bernard Floch, makeup
"Life Of Pi": Claudio Miranda, cinematography
"Life Of Pi": Bill Westenhofer, visual effects
"The Master": Jack Fisk & David Crank, production design
"My Brother The Devil": David Raedeker, cinematography
"Rust And Bone": Alexandre Desplat, music
More nominations from London can be found here.


A native of Los Angeles raised by two parents and "Hill Street Blues," Jon Weisman ankled his scriptwriting career and began working for Variety in 2004, subsequently serving as associate editor of features and television reporter before becoming awards editor. He promises not to use this platform to retroactively campaign for Oscars for “The Misfits,” though he’d feel justified in doing so.
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