The films of Martin Rejtman have the beauty of being immediately recognisable while at the same time surprising us at every turn. His feature debut Rapado (1992) is today regarded as no less than the film that launched the New Argentine Cinema, a cinematic renovation led by a new wave of directors of which Lucrecia Martel and Lisandro Alonso are key figures too.
An at once luminous and delightfully off-kilter body of work, his cinema is imbued with a languid melancholy and a peculiarly hilarious use of deadpan humor. MUBI is absolutely thrilled to dedicate a retrospective to Rejtman’s fiction filmmaking, which spans three decades. Often compared to the likes of Jim Jarmusch, Aki Kaurismäki and Robert Bresson, Martin Rejtman’s deceptively unadorned, subtly meticulous style is fuelled by an effortless combination of charm and warmth that results in unexpected transcendence. These are comedies of sheer originality—very funny, often tender, always unpredictable.