Interview with Martín Rejtman, director of «La práctica»

Interview with Martín Rejtman, director of «La práctica»

Within the narrative of La práctica, yoga occupies a prominent place. What elements would you say your cinema shares with the practice of yoga?

I have been practicing yoga since the mid-90s. In the dialogues of La práctica there are quite a few references to yoga as a discipline that perhaps can connect with the aesthetics and characters of the film. Beyond these direct references in the dialogues, I think the most important connection is the idea of the present. In all my films the characters live in a kind of state of availability, in a constant present; the past and the future do not seem to be important, only the present. Yoga precisely insists a lot on “being present.”

La práctica was presented at festivals such as San Sebastián, New York and London, before very diverse audiences who, a priori, could associate Argentine or Latin American cinema with a profile in which perhaps your film does not fit. How was it received by those audiences with such different idiosyncrasies?

I didn't get the impression that the audience at these festivals had expectations of encountering another type of film, with the stereotype of Latin American cinema to which I think the question refers. It seems to me that the general public, as an abstract entity, is much broader in that sense than programmers, critics, support funds, distributors, etc. I don't think the problem of such a limited perception arises from the public.