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| Martín Rejtman | |
|---|---|
| Name | Martín Rejtman |
| Birth date | 1961 |
| Birth place | Buenos Aires, Argentina |
| Occupation | Film director, screenwriter, producer |
| Years active | 1989–present |
Martín Rejtman is an Argentine film director, screenwriter and producer associated with the New Argentine Cinema movement. His debut feature reshaped independent filmmaking in Argentina and influenced a generation of filmmakers, critics and festivals across Latin America and Europe. Rejtman's work is noted for its minimalist aesthetics, deadpan humor and observational storytelling.
Rejtman was born in Buenos Aires and studied film and literature in Argentina and abroad, engaging with institutions such as the Universidad de Buenos Aires, the Fondo Nacional de las Artes and film workshops connected to Instituto Nacional de Cine y Artes Audiovisuales. He attended international programs linked to festivals like the Cannes Film Festival and the Sundance Institute and encountered filmmakers associated with the New Argentine Cinema, Italian Neorealism, French New Wave and American independent scenes. During his education he interacted with figures connected to the Centro Cultural Recoleta, Teatro San Martín, Museo de Arte Moderno de Buenos Aires and Universidad Torcuato Di Tella, while reading works by directors and writers whose careers intersected with institutions such as the British Film Institute, the American Film Institute and the National Film Board of Canada.
Rejtman began with short films and gained critical attention with a debut feature that premiered at international festivals including the Locarno Film Festival, the Venice Film Festival and the Berlin International Film Festival. He worked with producers and collaborators who had ties to INCAA, BAFICI, the Mar del Plata International Film Festival and the Guadalajara International Film Festival. His career involves collaborations with actors, cinematographers and editors linked to Argentina's Teatro Colón, Televisión Pública Argentina, Canal 7 and Canal Encuentro, as well as partnerships with production companies that participated in co-productions with Spain, France and Germany. Rejtman's films screened at venues like the Museum of Modern Art, the Film Society of Lincoln Center, the Torino Film Festival and the New York Film Festival, and he taught workshops at institutions such as the National Autonomous University of Mexico, Columbia University and the Universidad del Cine. He engaged with critics and scholars associated with Cahiers du Cinéma, Sight & Sound, Variety and La Nación, and his projects attracted support from cultural organizations like the Goethe-Institut, the British Council, the Instituto Cervantes and the Prince Claus Fund.
Rejtman's filmography spans features, shorts and documentaries that circulated through festival circuits including Sundance, Rotterdam, San Sebastián and Karlovy Vary. His notable titles screened alongside works by directors such as Pedro Almodóvar, Lucrecia Martel, Pablo Trapero, Alejandro González Iñárritu and Alfonso Cuarón at retrospectives and competitions. Film prints and digital versions of his work have been archived in institutions like the Filmoteca Española, the Cinemateca Brasileira, the Cineteca Nacional (Mexico) and the Austrian Film Museum. His films have been programmed on television channels including TVE, RAI, ARTE and Canal+ and distributed by companies connected to IFC Films, MK2, Criterion Collection and MUBI.
Rejtman's aesthetic is linked historically to movements referenced by scholars who study Italian Neorealism, French New Wave, Dogme 95, American independent cinema and Latin American modernism. Critics compare his narrative economy to works by directors associated with the British New Wave, the Romanian New Wave and the Prague New Wave, and they contextualize his humor alongside playwrights and novelists tied to Teatro Cervantes, Editorial Anagrama, Alfaguara and Faber & Faber. Themes in his films intersect with urban life in Buenos Aires, generational shifts discussed in Continental philosophy circles like the École Normale Supérieure, psychoanalytic traditions linked to the Universidad de Buenos Aires, and cultural debates hosted by the Centro Cultural Kirchner and the Biblioteca Nacional Mariano Moreno.
Rejtman's films and retrospectives received prizes and nominations from film bodies such as the Argentine Academy of Cinematography Arts and Sciences, the European Film Awards, the Latin American Cinema Awards and the Premios Sur. He has been honored at festivals including Locarno, Rotterdam, San Sebastián, BAFICI and Mar del Plata, and received grants from institutions like the National Endowment for the Arts, the Consejo Nacional de las Artes y las Letras and the Fondo Argentino de Desarrollo Cultural. Retrospectives of his work have been organized by film museums including the Museo de Arte Contemporáneo de Barcelona, the Filmoteca de la UNAM and the Pacific Film Archive.
Rejtman maintains ties with colleagues active in Buenos Aires cultural life, engaging with film schools, theaters and cultural centers such as Teatro Nacional Cervantes, Centro Cultural Recoleta, Universidad de Buenos Aires and Universidad del Cine. His influence is often cited by contemporary filmmakers, critics and curators connected to Lucrecia Martel, Pablo Trapero, Mariano Llinás, Anahí Berneri and Lisandro Alonso, and by programmers at BAFICI, the Mar del Plata International Film Festival and the Festival Internacional de Cine de Valdivia. Scholarly work on his films appears alongside studies of Latin American cinema in journals tied to the University of Oxford, Columbia University, Universidad Nacional Autónoma de México and the New School, and his legacy continues to shape debates at institutions such as the British Film Institute, the Museo de Arte Moderno de Buenos Aires and Cinecittà.
Category:Argentine film directors Category:1961 births Category:Living people