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Amongst the diverse tendencies of the so-called “new Argentinean cinema,” the small yet great oeuvre of Martín Rejtman is singularly emblematic. InRapado, his first feature film, he explores with wit and oblique humor the moods of characters caught between drowsiness and apathy. In Silvia Prieto, a 27-year-old woman becomes obsessed when she discovers another woman of the same name. She decides to meet her, only to find out there may be even more Silvia Prietos. By appropriating certain characteristics of the absurd, Rejtman fluently constructs a delirious local version of the screwball comedy. Rejtman has already become an artist as essential as he is unclassifiable.