Author Abel Muñoz Hénonin

Abel Muñoz Hénonin

Abel Muñoz Hénonin is editor-in-chief of the Mexican film magazine Icónica, and teaches Film History at the Escuela Superior de Cine, and Methodologies of Research at Universidad Iberoamericana in Mexico. He is a doctoral candidate at the European Graduate School. He co-ordinated, alongside Claudia Curiel de Icaza, two volumes of Reflexiones sobre cine mexicano contemporáneo: Ficción (2012) and Documental (2014). @eltalabel

Fernández, Emilio “Indio”

Abel Muñoz Hénonin

April 2020

Great Directors

b. 26 March 1906, Mineral del Hondo, Coahuila, Mexico d. 6 August 1986, Mexico City Emilio “Indio” Fernández set himself as a goal, perhaps one of the most unlikely film projects ever: to build a nation, Me...

The echo of the Three Amigos

Abel Muñoz Hénonin

October 2019

This is what defined cinema in the 2010s

The three best known Latin-American filmmakers worldwide, Alejandro González Iñárritu, Alfonso Cuarón, and Guillermo del Toro, are the surviving core of the greatest American film tradition, alongside Paul Thom...

The dream of a Mexican film industry

Abel Muñoz Hénonin

December 2018

Latin American Cinema Today: An Unsolved Paradox

Spanish version / Versión en Español. Icónica. By Abel Muñoz Hénonin Translated by Gabriella Munoz In Mexico, cinema is not something that is thought of in terms of present and future. This is a curious ...

Cinema and the Classroom: Education in the Work of Eric Rohmer

Criminals Against Decoration: Modernism as a Heist

The New-Ark: trying to disavow anti-blackness

Claustrophobia and Intimacy in Alex Ross Perry’s Queen of Earth and Her Smell

What’s in a Cone? Barbara Loden’s Wanda Between Weakness and Resilience

Come and See The Painted Bird: A Filmmaker’s Plea

Thresholds of Work and Non-Work in Tulapop Saenjaroen’s People on Sunday

Report from the AFI Film Festival: Bruno The Dog and Other Dreamers

The 34th Cinema Ritrovato Has Full Resuscitation under COVID

Women at the 2020 Toronto International Film Festival

Lest We Forget: the 31st FID Marseille

A Vitalising Cinema in an Agitated Age: The 58th New York Film Festival

Locarno 2020: The Open Doors Experience

Your Daughters Come Back to You: The 28th Pan African Film and Arts Festival

The Mouse Machine: Disney and Technology by J.P. Telotte

Trade Follows the Film: Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System by Lee Grieveson

War, Community, and the Cinema: Front Lines of Community: Hollywood Between War and Democracy by Hermann Kappelhof and Five Came Back: A Story of Hollywood and the Second World War by Mark Harris

The Perfect Conditional: Philippe Garrel by Michael Leonard

Creating the Appearance of Being: The Art of American Screen Acting 1960 to Today, by Dan Callahan

The Restless Spectator: Anxious Cinephilia: Pleasure and Peril at the Movies, by Sarah Keller

Engaged Vision: Critical Mass: Social Documentary in France from the Silent Era to the New Wave, by Steven Ungar

The Draughtsman's Contract

Stairways to Paradise: Youssef Chahine and Alexandria…Why?

At Home Among Strangers (Свой среди чужих, чужой среди своих, Nikita Mikhalkov, 1974)

German Yearnings, East and West: The Sons of Great Bear (Josef Mach, 1966)

Waiting for Rain: Oppression and Resistance in Youssef Chahine’s The Land (1970)

Of East and West and High and Low: Lemonade Joe (1964)

A Man from the Boulevard des Capucines (Chelovek s bulvara Kaputsinov, Alla Surikova, 1987)

Peckinpah, Sam

Scott, Tony

Menzel, Jiří

Wise, Robert

Fernández, Emilio “Indio”

Fei Mu

Huston, John

Fernández, Emilio “Indio”

The echo of the Three Amigos

The dream of a Mexican film industry