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Andrea Hornedo Muro

Birthplace:
Ciudad de México, México

Biography from TheMovieDB

From 2014-2015 she completed the Diploma in Photography taught by the Morelense Center for the Arts of the State of Morelos. In 2016 she entered the Bachelor of Cinematography at the National School of Cinematographic Arts (ENAC) of the UNAM. That same year, she attended the Filmmaking Workshop given by the filmmakers Angela Schanelec and Helena Wittman, organized by FICUNAM and the Ingmar Bergman Chair. In 2018, she participates in the DocsMx Platform Development Laboratory with her feature documentary project Crónica del hombre Fénix. That same year she filmed the short documentary Being Seen in collaboration with the University of Arizona and African American Student Affairs. In 2020 she filmed her documentary thesis Not Much Happens in Santa Ana Street in the US, California. That same year she filmed the short documentary Sigues Aquí. As an artist, she is interested in projects about economic inequality, migration, racism, and gender perspective.

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Additional information:

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Film Performances

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Film Production

Colorist:
2017  The Girls Who Were Not Afraid

Director:
2017  Mina
2017  The Girls Who Were Not Afraid
2023  Being Seen

Director of Photography:
2017  Mina
2017  The Girls Who Were Not Afraid
2023  Being Seen

Editor:
2017  Mina
2017  The Girls Who Were Not Afraid
2023  Being Seen

Producer:
2017  Mina
2017  The Girls Who Were Not Afraid
2019  Letters to Claudia
2023  Being Seen

Screenplay:
2017  Mina
2017  The Girls Who Were Not Afraid
2019  Letters to Claudia
2023  Being Seen

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About the Movie Section

Most data and links to images for the Movies section come from TheMovieDB (TMDB).

Additional data for Film Titles come from The Open Movie Database (OMDb).

At least one plug-in comes from IMDb.

Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)

While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

Regarding profile removals and data corrections:

  • If you would like your profile removed from this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's gone from their site, it should soon be gone from this site.
  • If you would like to correct movie data on this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's corrected on their site, it should soon be corrected on this site.
  • For additional corrections and profile removals, please e-mail The Open Movie Database (OMDb).

Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).

Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.

Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.