費德里科二十多歲，一個人住在布宜諾斯艾利斯。他祖母去世的那天，他決定和他的女朋友瑪格達分手。他害怕傷害她。但當(dāng)時間到了，她就打敗了他。她懶散、精力充沛，甚至連受傷的感覺都沒有。然而，尤其是當(dāng)他得知她已經(jīng)有了新朋友時。但后來他在最近去世的祖母給他的冰箱里找到了土豆刀，一切都變了。雷杰曼的舞臺是阿根廷社會的縮影，他用一個稀少的故事和一種無視復(fù)古現(xiàn)實主義的指導(dǎo)性方法，以精心創(chuàng)作的圖像來破譯。雷杰曼屬于阿根廷電影的新浪潮，在20世紀(jì)90年代中期首次在歐洲獲得認(rèn)可。據(jù)弗吉尼亞大學(xué)的羅克?奧?戈登博士說，他作品的主要方面是導(dǎo)演和作者不以粗制濫造的方式講述線性故事，而是指冷漠的美學(xué)。在這種冷漠中，喜劇獲得了最大的范圍——到目前為止在阿根廷的獨特地位。 　　Federico, is in his mid-twenties and lives alone in Buenos Aires. The day his grandmother dies, he decides to part with his girlfriend Magda. He fears hurting her. But when the time comes, she beats him to it. She is laid-back, feisty and not even close to feeling hurt. He is however, especially when he learns that she already has someone new. But then he finds the potato knishes in the freezer that his recently departed grandmother gave him and everything changes. Rejtman’s stage is the microcosm of the Argentine society, which he deciphers in carefully composed images with a sparsely told story and a directing approach in defiance of retro realism. Rejtman belongs to the new wave of Argentine film that first gained recognition in Europe in the mid-1990s. According to Dr. Rocío Gordon of the University of Virginia, the key aspect of his work is that the director and author does not tell linear stories in a run-of-the-mill way, but rather refers to an aesthetic of apathy. Within this apathy, comedy gains the greatest of scopes – a unique position in Argentina until now.