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The Hurt Locker is a 2009 Americanmarker war thriller directed by Kathryn Bigelow. The film follows a United States Army EOD team during the Iraq War in 2004. The story was written by Mark Boal, a freelance writer who was embedded with a bomb squad.It stars Jeremy Renner, Anthony Mackie, and Brian Geraghty as members of a U.S. Army Explosive Ordnance Disposal (EOD) unit in Iraqmarker and follows their tour together as they contend with defusing bombs, the threat of insurgency, and the tension that develops between them.

The film was shot in the Middle East, specifically in Jordanmarker, within miles of the Iraq border. It was first released theatrically in the United States on June 26, 2009 in New Yorkmarker and Los Angelesmarker. Based on the success of its limited run, the independent film received a more widespread domestic theatrical release on July 24, 2009. The film had initially premiered at the Venice Film Festival in late 2008, then at the Toronto International Film Festivalmarker in North America, where it was picked up for domestic distribution by Summit Entertainment. The film has received widespread acclaim from film critics and has won numerous awards.


The Hurt Locker opens with a quote: "The rush of battle is a potent and often lethal addiction, for war is a drug". The quote comes from the 2002 best-selling book War is a Force That Gives Us Meaning, by New York Times war correspondent and journalist, Chris Hedges.

In 2004, during the early stages of the Iraq war, Sergeant First Class William James becomes the team leader of an Explosive Ordnance Disposal (EOD) unit with the U.S. Army's Bravo Company, replacing Staff Sergeant Thompson, who was killed by a remote-detonated improvised explosive device (IED) in Baghdadmarker. He joins Sergeant J.T. Sanborn and Specialist Owen Eldridge, whose jobs are to communicate with their team leader via radio inside his bombsuit, and provide him with rifle cover while he examines IEDs. During their first mission together, James's insistence on approaching a suspected IED without first sending in a bomb disposal robot leads Sanborn and Eldridge to consider him "reckless". At Camp Victory, James befriends an Iraqi boy nicknamed "Beckham" who works for a local merchant operating at the base. Subsequent missions see James disarming a bomb at the United Nations building in Baghdad, the team joining forces with a British private military company in a firefight with insurgent snipers, and the team retrieving unexploded ordnance from a warehouse, all while tensions mount between the team members. During the latter mission, James discovers the dead body of a young boy who has been surgically implanted with an unexploded bomb. James believes it to be Beckham, while Sanborn and Eldridge are not certain.

James forces the merchant for whom Beckham worked to drive him to Beckham's house. Upon entering, James encounters an Iraqi professor and demands to know who was responsible for turning Beckham into a "body bomb". The professor thinks James is a CIA agent and calmly invites him to sit down as a guest of his household. A confused James is forced out of the house by the man's wife, and he gets back into Camp Victory with the help of a sympathetic guard. That night, Eldridge is accidentally shot in the leg while the EOD team tracks down and kills two insurgents. The next morning, James is approached by Beckham, whom James coldly walks by without saying a word. Eldridge blames James for his injury, claiming James unnecessarily put his life at risk so he could have an "adrenaline fix", referring to Sanborn's suggestion that the mission, which James had ordered, would be better suited for an infantry platoon.

With only two days left on their tour, James and Sanborn are called in to assist in a situation where a man was forced to wander into a military checkpoint with a time-bomb strapped to his chest. James cannot remove the bomb nor disarm it in time, and is forced to flee before the bomb goes off. On the ride back to the base, Sanborn becomes emotional and confesses to James that he can no longer cope with the pressure of being in EOD, and relishes the prospect of finally leaving Iraq and starting a family. James returns home to his wife and child, and is seen quietly performing routine tasks of civilian life. One night he speaks to his infant son, telling him that there is only "one thing" that he knows he loves. He is next seen back in Iraq, ready to serve another year as part of an EOD team with Delta Company.




The Hurt Locker is based on the accounts of Mark Boal, a freelance journalist who was embedded with an American bomb squad in the war in Iraq. Director Kathryn Bigelow was familiar with Boal's work before his experiences, having turned one of his Playboy articles into the short-lived television series The Inside. When Boal was embedded with the squad, he went with the members 10 to 15 times a day to watch their tasks, keeping in touch with Bigelow about his experiences. Boal combined his experiences into a fictional retelling of real events. He said of the film's goal, "The idea is that it's the first movie about the Iraq War that purports to show the experience of the soldiers. We wanted to show the kinds of things that soldiers go through that you can't see on CNN, and I don't mean that in a censorship-conspiracy way. I just mean the news doesn't actually put photographers in with units that are this elite."


The film's three main stars are Jeremy Renner, Anthony Mackie, and Brian Geraghty. Renner plays Sergeant First Class William James, a composite character with qualities based on individuals that screenwriter Mark Boal knew when embedded with the bomb squad. Mackie plays Sergeant J.T. Sanborn and describes his experience filming in Jordan in the summer, "It was so desperately hot, and we were so easily agitated. But that movie was like doing a play. We really looked out for each other, and it was a great experience. It made me believe in film." Geraghty played Specialist Owen Eldrige. Secondary roles include Christian Camargo as Colonel Cambridge, Guy Pearce as Staff Sergeant Matt Thompson, Ralph Fiennes as a contractor team leader, David Morse as Colonel Reed, and Evangeline Lilly as Connie James. Bigelow discovered several hundred thousand refugees of Iraq when filming in Ammanmarker, Jordan. She cast refugees who had theatrical backgrounds, such as Suhail Aldabbach, who plays a forced suicide bomber at the film's end. Other tertiary roles include Nabil Koni, Feisal Sadoun, Imad Dadudi, Hasan Darwish, Wasfi Amour, Nibras Quassem, and Nader Tarawneh. Christopher Sayegh played the Iraqi street vendor kid who befriends Renner's character after he attempts to peddle bootleg DVDs to him. Because he is a soccer fan, he dubs himself "Beckham" after soccer star David Beckham.


Members of the key filmmaking crew include producer Tony Mark, director of photography Barry Ackroyd, film editors Chris Innis and Bob Murawski, production designer Karl Júlíusson, production sound mixer Ray Beckett, and costume designer George Little. The film's real explosions and special effects were designed by Richard Stutsman and his team. Filming began in July 2007 in Amman, Jordan.

According to producer Tony Mark, the blood, sweat and heat captured on-camera in the production was mirrored behind the scenes. "It's a tough, tough movie about a tough, tough subject," Mark said in an interview, "There was a palpable tension throughout on the set. It was just like the onscreen story of three guys who fight with each other, but when the time comes to do the work, they come together to get the job done."

Filming began in July 2007 in Jordanmarker and Kuwaitmarker. Producer Greg Shapiro spoke about security concerns of filming in Jordan, "It was interesting telling people we were going to make the movie in Jordan because the first question everybody asked was about the security situation here." Often four or more camera crews filmed simultaneously, which resulted in nearly 200 hours of footage. Although the filmmakers scouted for locations in Moroccomarker, director Kathryn Bigelow sought greater authenticity and decided to film in Jordanmarker because of its proximity to Iraqmarker. Some of the locations were less than three miles from the Iraqi border.

Producer Tony Mark recalled armorer David Fencl finishing a 12-hour day and staying up all night to create proper ammunition for a sniper rifle when the real ammo didn't clear Jordanian customs in time for the scheduled shoot.

On this film shoot, there were few of the normal Hollywood perks; nobody on the set got an air-conditioned trailer or a private bathroom. Lead actor Jeremy Renner, who trained with real EOD teams before shooting the film, says that great pains were taken to ensure the film's authenticity. According to Renner, shooting the film in the Middle East contributed to this. "There were two-by-fours with nails being dropped from two-story buildings that hit me in the helmet, and they were throwing rocks.... We got shot at a few times while we were filming," Renner said. "When you see it, you're gonna feel like you've been in war."

"You can't fake that amount of heat," Anthony Mackie who plays Sgt. Sanborn says, adding, "When you are on set and all of the extras are Iraqi refugees, it really informs the movie that you're making. When you start hearing the stories from a true perspective ... of people who were actually there, it gives you a clear viewpoint of where you are as an artist and the story you would like to tell. It was a great experience to be there."


For the film, Bigelow sought to immerse audiences "into something that was raw, immediate and visceral". The director was impressed with cinematographer Barry Ackroyd's work on United 93 and The Wind That Shakes the Barley and invited him to perform the camera work for The Hurt Locker. While the film was independently produced and filmed on a low budget, Bigelow used multiple S16mm cameras to capture multiple perspectives, saying, "That's how we experience reality, by looking at the microcosm and the macrocosm simultaneously. The eye sees differently than the lens, but with multiple focal lengths and a muscular editorial style, the lens can give you that microcosm/macrocosm perspective, and that contributes to the feeling of total immersion."

Critical reception

The New York Times called The Hurt Locker "the year’s most critically acclaimed American film". Rotten Tomatoes reported that 98% of critics gave the film a positive review, based on a sample of 130, with an average score of 8.4 out of 10. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the film has received an average score of 94 based on 33 reviews. Rotten Tomatoes wrote of the critics' consensus, "A well-acted, intensely shot, action filled war epic, Kathryn Bigelow's The Hurt Locker is thus far the best of the recent dramatizations of the Iraq War."

Roger Ebert of The Chicago Sun Times gave the film four stars out of four, writing, "The Hurt Locker is a great film, an intelligent film, a film shot clearly so that we know exactly who everybody is and where they are and what they're doing and why." He applauded how the suspense was built, calling the film "spellbinding". Ebert considered Renner "a leading contender for Academy Awards", writing, "His performance is not built on complex speeches but on a visceral projection of who this man is and what he feels. He is not a hero in a conventional sense." Richard Corliss of Time magazine also spoke highly of Renner's performance, calling it a highlight of the film. Corliss wrote, "He's ordinary, pudgy-faced, quiet, and at first seems to lack the screen charisma to carry a film. That supposition vanishes in a few minutes, as Renner slowly reveals the strength, confidence and unpredictability of a young Russell Crowe. The merging of actor and character is one of the big things to love about this movie... It's a creepy marvel to watch James in action. He has the cool aplomb, analytical acumen and attention to detail of a great athlete, or a master psychopath, maybe both." The critic also embraced another highlight, the film's "steely calm" tone, reflective of its main character. Corliss summarized, "The Hurt Locker is a near-perfect movie about men in war, men at work. Through sturdy imagery and violent action, it says that even Hell needs heroes."

A. O. Scott of The New York Times called The Hurt Locker the best American feature film yet made about the war in Iraq: "You may emerge from “The Hurt Locker” shaken, exhilarated and drained, but you will also be thinking... The movie is a viscerally exciting, adrenaline-soaked tour de force of suspense and surprise, full of explosions and hectic scenes of combat, but it blows a hole in the condescending assumption that such effects are just empty spectacle or mindless noise." Scott noticed that the film reserved criticism of the war but wrote of how the director handled the film's limits, "Ms. Bigelow, practicing a kind of hyperbolic realism, distills the psychological essence and moral complications of modern warfare into a series of brilliant, agonizing set pieces." The critic also applauded the convergence of the characters in the film, "[It] focuses on three men whose contrasting temperaments knit this episodic exploration of peril and bravery into a coherent and satisfying story." Kenneth Turan of the Los Angeles Times wrote that the performances of Renner, Mackie, and Geraghty would raise their profiles considerably and said their characters reveal their "unlooked-for aspects", such as Renner's character being playful with an Iraqi boy. Turan applauded Boal's "lean and compelling" script and reviewed Bigelow's direction, "Bigelow and her team bring an awesome ferocity to re-creating the unhinged mania of bomb removal in an alien, culturally unfathomable atmosphere."

Guy Westwell of Sight & Sound wrote that cinematographer Barry Ackroyd provided "sharp handheld coverage" and that Paul N.J. Ottosson's sound design "uses the barely perceptible ringing of tinnitus to amp up the tension." Westwell praised the production value, reviewing, "The careful mapping of the subtle differences between each bomb, the play with point of view... and the attenuation of key action sequences... lends the film a distinctive quality that can only be attributed to Bigelow's clever, confident direction." The critic noted its different take on the Iraq War, "[I]t confronts the act that men often take great pleasure in war." He concluded, "This unapologetic celebration of a testosterone-fuelled lust for war may gall. Yet there is something original and distinctive about the film's willingness to admit that for some men (and many moviegoers) war carries an intrinsic dramatic charge." Amy Taubin of Film Comment described The Hurt Locker as "a structuralist war movie" and "a totally immersive, off-the-charts high-anxiety experience from beginning to end". Taubin praised Ackroyd's "brilliant" cinematography with multiple viewpoints and also said of the film's editing, "Bob Murawski and Chris Innis's editing is similarly quick and nervous; the rapid changes in POV as they cut from one camera's coverage to another's makes you feel as if you, like the characters, are under threat from all sides."

Joe Morgenstern of The Wall Street Journal called it, "A first-rate action thriller, a vivid evocation of urban warfare in Iraq, a penetrating study of heroism and a showcase for austere technique, terse writing and a trio of brilliant performances." Toronto Star critic Peter Howell said, "Just when you think the battle of Iraq war dramas has been fought and lost, along comes one that demands to be seen... If you can sit through The Hurt Locker without your heart nearly pounding through your chest, you must be made of granite." Entertainment Weekly's film critic Lisa Schwarzbaum gave the film the rare "A" rating, calling it, "an intense, action-driven war pic, a muscular, efficient standout that simultaneously conveys the feeling of combat from within as well as what it looks like on the ground. This ain't no war videogame."

Derek Elley of Variety found The Hurt Locker to be "gripping" as a thriller but felt that the film was weakened by, "its fuzzy (and hardly original) psychology." Elley wrote that it was unclear to know where the drama lay: "These guys get by on old-fashioned guts and instinct rather than sissy hardware -- but it's not a pure men-under-stress drama either." The critic also felt that the script showed, "signs of artificially straining for character depth." Anne Thompson, also writing for Variety, believed The Hurt Locker to be a contender for Best Picture, particularly based on the unique subject matter pursued by a female director and on being an exception to other films about the Iraq War that had performed poorly.


Festival screenings

The Hurt Locker had its world premiere at the Venice Film Festival on September 4, 2008, and the film received a 10-minute standing ovation at the end of its screening. At the festival, the film won the SIGNIS award, the Arca Cinemagiovani Award (Arca Young Cinema Award) for "Best Film Venezia 65" (chosen by an international youth jury); the Human Rights Film Network Award; and the "La Navicella" – Venezia Cinema Award. The film also screened at the 33rd Annual Toronto International Film Festivalmarker on September 8, where it generated "keen interest", though distributors were reluctant to buy it since previous films about the Iraq War performed poorly at the box office. Summit Entertainment purchased the film for distribution in the United States in what was perceived as "a skittish climate for pic sales", reportedly paying $1.2 million for the rights.

In the rest of 2008, The Hurt Locker screened at the 3rd Zurich Film Festival, the 37th Festival du Nouveau Cinéma, the 21st Mar del Plata Film Festival, the 5th Dubai International Film Festival, and the 12th Tallinn Black Nights Film Festival. In 2009, The Hurt Locker screened at the Göteborg International Film Festival, the 10th Film Comment Selects festival, and the South by Southwest Film Festival. It had a centerpiece screening at the 3rd AFI Dallas International Film Festival, where director Kathryn Bigelow received the Dallas Star Award. Other 2009 festivals included the Human Rights Nights International Film Festival, the Seattle International Film Festival, and the Philadelphia Film Festival.

Theatrical run

The Hurt Locker was first publicly released in Italy by Warner Bros. Pictures on October 10, 2008. It was released in the United States on June 26, 2009, with a limited release at four theaters in Los Angeles and New York City. Over its first weekend, it grossed $145,352, averaging $36,338 per theater. The following weekend, beginning July 3, the film grossed $131,202 at nine theaters, averaging $14,578 per theater, It held the highest per-screen-average of any movie playing theatrically in the United States for the first two weeks of its release, gradually moving into the top 20 chart with much wider-released, bigger budget studio films. It held around number 13 or number 14 on box office charts for an additional four weeks. Based on that success, distributor Summit Entertainment went wider to more than 500 screens on July 24, 2009. As of October 3, 2009, the independently produced and financed film has grossed a total of more than $16 million worldwide.

According to the Los Angeles Times, The Hurt Locker has performed better than most recent dramas about Middle East conflict. The independent film was acquired by Summit Entertainment at last year's Toronto International Film Festivalmarker for $1.5 million and has since made almost eleven times that amount. The film has already outperformed all other Iraq-war themed films such as In the Valley of Elah (2007), Stop-Loss (2008) and Lions for Lambs (2007).

The Hurt Locker opened in the top ten in the United Kingdommarker in 103 theaters, scoring the fourth highest per screen average of $3,607, ranking between G-Force and G.I. Joe in overall grosses. The film garnered a half a million dollars its opening week in the United Kingdom of August 28 through September 3, 2009, and has grossed over a million dollars in both the UK and France through early October.

Distribution: Independent film print shortage

According to an article in the Springfield, Illinois State Journal-Register, there is a shortage of film prints of The Hurt Locker, as well as other hit independent films such as Food Inc. Distributors are telling theater owners that they will have to wait weeks or months past the initial U.S. release date, to get the few available prints that are already in distribution. “Sometimes the distributors goof up,” said a film buyer for one theater, “they misjudge how wide they should go." One theory is that the independent films have a hard time competing for screen space during the summer against blockbuster tent-pole movies that hog up as much as half the screens in any given city, flooding the domestic market with thousands of prints. Theater owners have also complained about distributors, "bunching too many movies too close together." It is also thought that independent film distributors are trying to cut their losses on prints by recycling them and keeping the number of prints they make down to a minimum, to keep costs down. Given the popularity of some of the films that are "hard to come by", this strategy may be leaving box office money on the table.

Awards and honors

Besides the four award wins and five nominations at the Venice Film Festival, The Hurt Locker was also nominated for International Film Festival of the Art of Cinematography CAMERIMAGE PLUS Grand Prix Golden Frog award for best cinematography by Barry Ackroyd. Jeremy Renner and Anthony Mackie were nominated for best acting categories for the 2009 Independent Spirit Awards. The AFI Dallas 2009 International Film Festival has awarded the AFI DALLAS honorary Star Award to the film's director, Bigelow. The film's director has also received recognition from ShoWest, the annual film exhibition confab in Las Vegas. At the 14th Annual Nantucket International Film Festival in Massachusetts, the Showtime Tony Cox Award for Screenwriting was awarded to The Hurt Locker screenwriter, Mark Boal. Boal also received the year's Gucci Group Award, given in tandem with the 2009 Venice Film Festival to recognize outstanding achievement in film by an artist from a different professional background. Jeremy Renner won the "Breakthrough Actor Award" at the 2009 Hollywood Film Festival and will be honored along with director Kathryn Bigelow who takes home the "Director Award." Film editors Chris Innis and Bob Murawski were nominated for "Outstanding Editing - Feature Film" at the fourth annual Hollywood Post Alliance (HPA) awards. The Hurt Locker won two IFP Gotham Awards, for best feature and best ensemble performance and Jeremy Renner's breakthrough performance was also nominated. The film has been nominated for the 12th annual British Independent Film Awards for "Best Foreign Film." The Hurt Locker has also been nominated for five Golden Satellite Awards including Best Motion Picture (Drama), Best Director, Best Actor (Drama), Best Original Screenplay and Best Film Editing.

Award / Honor Category Nominee Result
Venice Film Festival
Golden Lion
Best Film The Hurt Locker Nominated
SIGNIS Award Best Film The Hurt Locker Won
Arca Cinemagiovani Award
(Arca Young Cinema Award)
Best Film The Hurt Locker Won
Human Rights Film Network Award Best Film The Hurt Locker Won
Young Cinema Award
"La Navicella"
Best Film The Hurt Locker Won
"Golden Frog"
Best Cinematography Barry Ackroyd Nominated
Independent Spirit Awards Best Actor Jeremy Renner Nominated
Best Supporting Actor Anthony Mackie Nominated
Seattle International Film Festival Best Director Kathryn Bigelow Won
Nantucket International Film Festival Best Screenplay Mark Boal Won
Gucci Group Award
(Venice Film Festival 2009)
Best Screenplay Mark Boal Won
Hollywood Film Festival Awards Breakthrough Actor Award Jeremy Renner Won
Hollywood Director Award Kathryn Bigelow Won
Hollywood Post Alliance Awards Outstanding Editing
Feature Film
Chris Innis
Bob Murawski
IFP Gotham Awards Best Feature Film The Hurt Locker Won
Best Ensemble Performance Jeremy Renner, Anthony Mackie,
Brian Geraghty, Ralph Fiennes, Guy Pearce, David Morse, Evangeline Lilly
Breakthrough Performance Jeremy Renner Nominated
British Independent Film Awards Best Foreign Film The Hurt Locker Nominated
Golden Satellite Awards Best Motion Picture (Drama) The Hurt Locker Nominated
Best Director Kathryn Bigelow Nominated
Best Actor Jeremy Renner Nominated
Best Original Screenplay Mark Boal Nominated
Best Film Editing Chris Innis
Bob Murawski

See also


  1. "Summit takes 'Hurt Locker' in U.S." Variety, by Sharon Swart, Sept. 10, 2008
  2. The Scotsman, "Film Review: The Hurt Locker" By Alistair Harkness, August 28, 2009
  3. Hedges, Chris "War is a Force that Gives us Meaning", p. 3 of introduction, ISBN 9781400034635, Pub. Date: June 2003 (reprint), Publisher: Random House Inc.
  4. "Hurt Locker Producer Lauds Film Crew and New Mexico Industry", The New Mexican, by Robert Nott, July 28, 2009
  5. DGA Magazine "Kinetic" By Jeffrey Ressner, DGA Quarterly, December 2008
  6. "Hurt Locker Producer Lauds Film Crew and New Mexico Industry", The New Mexican, by Robert Nott, July 28, 2009
  7. "Hurt Locker Producer Lauds Film Crew and New Mexico Industry", The New Mexican, by Robert Nott, July 28, 2009
  8. Moving Pictures Magazine: The Hurt Locker Interviews, Jeremy Renner, Interview by Elliot V. Kotek
  9. WENN news 20 July 2008 "Renner Caught Up In Film 'War'"
  10. Voice of America (VOA), "'The Hurt Locker' Portays Drama, Tension of Real Life on Front Lines" by Alan Silverman, July 13, 2009
  11. "Locker: Shock, Awe, Brilliance", The Wall Street Journal film review, by Joe Morgenstern, June 29, 2009
  12. The "The Hurt Locker" by Peter Howell, Movie Critic, Aug 31, 2008
  13. Entertainment Weekly "The Hurt Locker Movie Review" by Lisa Schwarzbaum, June 16, 2009
  14. AP - 'Harry Potter' franchise shows no sign of slowing (list of top 20 films)
  15. - Weekend Box Office, July 10 - July 12, 2009
  16. Entertainment Weekly "Jeremy Renner in 'The Hurt Locker' makes our Must List", by Jean Bentley, July 8, 2009
  17. HuffPost Box Office in Review by Scott Mendelson, July 19, 2009
  18. Variety "Foreign Weekly Box Office - August 28 - September 03, 2009
  19. The Los Angeles Times "The Hurt Locker defies the odds", By John Horn, August 5, 2009
  20. "Brian Mackey: Declare your love for indie films." The State Journal-Register, Springfield, Illinois, August 27, 2009.
  21. McClintock, Pamela. "Theaters deal with glut of new films: Sequels, Tentpoles Crowd Release Schedule." Variety. March 27, 2009
  22. Cameraimage Plus Grand Prix Golden Frog nominations official site
  23. Variety "Film trio feel the Spirit" by Erin Maxwell, Michael Jones, December 2, 2008
  24. Variety "Brothers Bloom to Open Dallas Fest: Hurt Locker will also Screen at AFI event" by Dave McNary, March 4, 2009
  25. The Hollywood Reporter "Kathryn Bigelow tapped for ShoWest nod", March 26, 2009
  26. Screen Daily "Nantucket honours The Cove, Dabis and Deller", June 22, 2009, by Wendy Mitchell
  27. The Hollywood Reporter "Honorees selected for Hollywood Awards" by Carl DiOrio, September 23, 2009
  28. Hollywood Reporter "Hollywood Fest honoring Bigelow, Ephron", By Gregg Kilday, September 30, 2009
  29. Post Production Buyers Guide, Hollywood Post Alliance, "Hollywood Post Alliance Announce 2009 Award Nominees", October 1, 2009
  30. Variety "Nominees announced for post awards" by David S. Cohen, October 1, 2009
  31. ABC-Reuters "U.S. War Drama Wins Top Film at Gotham Awards", by Christine Kearney, Paul Simao, November 30, 2009
  32. New York Post "Gotham noms: 'Hurt Locker' and, surprisingly, 'Big Fan' lead with 3" by Lou Lumenick, October 19, 2009
  33. British Independent Film Awards official web site - "Nominations and Jury Announced"
  34. "Indie Heavy Golden Satellite Nods", Indewire, by Peter Knegt, November 29, 2009


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