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“Time passes, but the important thing is to be present at every moment, because everything can change in a second,” he says. Martín Seefeld while crossing the Plaza Vicente López, in Recoleta, following the instructions of the photographer of THE NATION. A last-minute change in location brought him here. As he passes, passersby recognize him: some greet him enthusiastically, others just watch with curiosity. In an almost comedic twist, the first to stop him to say hello is the famous “Tano” Pasman, the River fan who became a social media phenomenon during the pandemic, who calls him affectionately: “Martín, dear! Do you remember me?” A few meters ahead, a group of girls in school uniforms surround him, excited. “Colucci!” they shout, referring to his character in Rebel Way. “Shall we take a selfie“?” one of them asks. Seefeld agrees with a smile. More than two decades after having played Franco Colucci, the character is still alive thanks to the platforms, which allow a new generation to rediscover Cris Morena’s series.
“In the end, all we really have is the now,” says Martín Seefeld, as he prepares for new performances of his play HolsterRicardo Pristupluk
Across the street, Seefeld sits in a café that is a new classic in the neighborhood and, while drinking a cortado from a glass, reflects: “The only thing we really have is this, this cut and this conversation now; I am 100% here.” That is his philosophy of the present, always attentive to the fragility of time and the importance of emotional ties. Later in the interview he will address other topics, such as the country’s crisis that affects national cinema, affected by the delay in the filming of the film The simulatorsa project in which he is deeply involved.
This weekend, the actor and producer returns to the Buenos Aires theater with Holtera musical that will have Four performances on the last two Saturdays and Sundays of September at the Cine Teatro El Plata in Mataderoswhich he stars in alongside Carolina Solari and Joaquín Bonamico.Holter “It doesn’t just speak about the heart, but about connections and what really matters,” she explains. “The pandemic was a moment of darkness. I realized that we needed to talk about what is essential: that which we believe is guaranteed, but which is actually so fragile.” Through a combination of humor, music and dance, the work invites us to rethink human relationships that are often taken for granted, confronting them with their opposite: the uncertainty and unexpectedness that life presents us with.
“I’m very excited to meet the Buenos Aires public again,” says Martín Seefeld about Holter’s returnSEBAGRANATA
—Time passes and you take up this work again. How did the idea of Holter?
—The pandemic was a time of chaos, of a lot of death. And that’s when I realized that we had to talk about what really matters: the bonds that we believe are guaranteed. The relationship with our children, parents, and partners… Those bonds that, when we lose them, we value how essential they are. It’s a play that deals with the ephemeral nature of life, about how everything can change in a second. It’s a theme that works everywhere. We did performances in Punta del Este, Córdoba, Rosario, Mar del Plata, Bahía Blanca, Tucumán, and other cities in the interior. It was an incredible experience in each place, in each performance. And now we’re returning to Buenos Aires, to the Cine Teatro El Plata, in Mataderos. I’m very excited to meet the Buenos Aires public again.
—You balance humor with very deep themes, how do you do it?
—Humor has been a key tool in my life, especially in difficult times. HolterAlthough we touch on serious subjects, humour allows us to connect with the audience in a different way. People laugh, get excited and that creates a very special bond. Furthermore, humour is a way of thinking, of rethinking our relationships and life itself. I think I am in the ideal moment to do this work. Jorge Marrale He came to see me and told me that it was great that I was doing it now, because maybe before I wouldn’t have been able to because of life issues, and in a few years, I won’t be able to because of my body.
The losses
Seefeld’s path is marked by profound losses that shaped him, both personally and professionally. Among them was the tragedy of the attack on the Argentine Israelite Mutual Association (AMIA) in 1994, where he lost his friend Fabián. He also remembers with pain the death of his parents and his older brother, episodes that led him to reflect on the fragility and value of time: “Life taught me that everything is finite,” he insists.
—How did the loss of your friend Fabián in the AMIA attack affect you personally?
—Losing Fabián was devastating. He was my brother for life. The night before we had dinner together and everything was very strange. We watched the 1994 World Cup final alone, when we always watched it with more friends. When he said goodbye he gave me a kiss, which was unusual. The next day, his wife called me: “Did you see what happened?” Fabián was at the AMIA with his brother, they had gone to do some paperwork because his grandfather had died that morning. The explosion took them away. It was a brutal blow that taught me how fragile life is. Everything can disappear in a second.
“Losses force you to reflect on the finiteness of life and make you value each moment more intensely,” says the actor.Ricardo Pristupluk
—How did you experience those days after the attack?
—I was at AMIA from the first day. I slept there with other volunteers until we found him. His father didn’t want to see the body. It was a very hard week. I only went home to shower once. That experience marked me forever. Since then, I try to be present in every moment, value what I have, and continue to demand justice. We can’t let this be forgotten. The death of my older brother also affected me a lot. When my brother died, it was unexpected, and that forced me to rethink many things. The departure of my parents closed a very important cycle in my life. These losses force you to reflect. Today I try to stay close to what really matters: family, friends, and my work.
—How do you channel those emotions?
—Theater and work helped me a lot. Putting my body and soul into what I do is a way of coping with those losses. It is a space to express what I sometimes cannot put into words.
The most anticipated return
The simulatorsthe series created by Damian Sifron In 2002, it was a resounding success on Argentine television. The series was the story of four men who solved impossible problems through ingenious simulations. In 2022, to celebrate its 20th anniversary, Szifrón announced the film adaptation, with a release scheduled for 2024. However, the project has been delayed for multiple reasons, one of them being the current situation of the film industry. “We went on air in 2002, in one of the worst crises in the country, and this time we are going to succeed too,” says the actor, confident that, despite the challenges, the film will become a reality.
—So, are you moving forward with the movie? The simulators?
—It’s a huge and beautiful project. There’s been a lot of talk about it these days and we’re still working to make the film. We want it to live up to what people expect. It’s not an easy process, because we want to take care of every detail. The platforms have changed and that makes it a complex puzzle, but we’re moving forward.
During the 20th anniversary of the premiere of Los Simuladores, the adaptation of the series to film was announcedParamount
—Why the delay?
—We don’t want to rush. We know what it means to the public and we can’t do anything halfway. The idea is for the return to be special, something that will remain in everyone’s memory. It’s a big challenge and we’re taking the time necessary to do it right.
Political commitment
“If I feel I can contribute, I will,” says Seefeld, who has always remained close to the political and social sphere, defending causes and actively getting involved. Throughout his career, the actor has given his opinions without fear and has been committed to issues that he considers important, such as justice and the rights of actors. “I have been working for the acting community and for the entire media for 18 years. But not to the detriment of others, but for the benefit of all,” says the actor about his role since Sagai. Although he received multiple proposals to get formally involved in politics, he preferred to concentrate on his artistic career.
Martin Seefeld rejected several proposals to direct the Incaa and Public Television during Mauricio Macri’s administration: “I have been friends with Mauricio for years and I didn’t want it to be interpreted that I was there just for that,” he says.
—You were offered positions related to your profession and you turned them down…
—Yes, during the government of [Mauricio] Macri offered me several positions, such as being on the public channel or at the Incaa, and even being a candidate for deputy. But it wasn’t the right time. I’ve been friends for years with Mauricio, and I didn’t want it to be interpreted that I was there just for that. Mind you, it wasn’t because I thought I couldn’t do it, but if one day I get involved in politics it will be because I really feel that I can contribute something.
—How do you see the current situation?
—I am a democratic being. I want the Government to do well because if it does well, we all do well. I wish the same for all governments, it makes no sense to wish failure just because it is not the one you voted for. But I am not going to keep quiet if something is wrong. We must be a constructive opposition, maintain what is right and correct what is wrong. This division that we have is what is holding us back as a country.
—So, for you, the rift continues?
—I think it is one of the things that is holding us back the most as a country. First, we have to end this absurd rift. We cannot be objective if every time someone else did something, we automatically have to remove them. I find it ridiculous. We have to learn to maintain what is right, no matter who did it, and correct what is wrong. We have already realized that throwing stones at each other does not work.
“Theatre allows me to continue exploring and that is what I enjoy most,” says Martín SeefeldRicardo Pristupluk
In addition to Holter and the long-awaited film The simulatorsSeefeld has other projects in the works, including a stage adaptation of Jorge Luis Borges’ stories. “It’s fascinating,” she says of the challenge of bringing to the stage the work of one of the most brilliant and complex writers in Argentine literature. “Theatre allows me to continue exploring, and that’s what I enjoy most.”
—How can Borges be adapted for theatre?
—He is a difficult author to read and even more to interpret, but that is what makes him fascinating. It is an alternative project that excites me a lot. I am fascinated by the way he plays with time, identity, the finite and the infinite. Bringing him to the theatre is a huge challenge, but I think it can be a very rich experience. In any case, first I am going to do The pillars of society, of Henrik IbsenIt is a work that talks about politics and values, and I think it will have a lot of impact.
““Time is a river that sweeps me away, but I am the river,” wrote Borges. For Seefeld, the phrase takes on a deeper meaning: “In the end, all we really have is the now.”
Holterwith Martín Seefeld, Carolina Solari and Joaquín Bonámico. Venue: Cine Teatro El Plata (Juan Bautista Alberdi Avenue 5765). Showings: today and tomorrow, and on September 28 and 29, at 8 p.m.
Conocé The Trust Project
