The Face of the Jellyfish

It is no coincidence that the second feature by Argentinian Melisa Liebenthal begins with a quote from “Duino Elegies” by Rilke, who was concerned with existential angst. And, more prosaically, Marina, the film’s young protagonist, is faced with similar anxiety. In fact, her problem is her face. One morning, she discovers her face has changed, and she can no longer recognise herself. Not even her mother can, who bumps into her on the street and says hello to her like she would to any stranger (deadpan, surreal humor is part of the film’s recipe). Marina is thus forced to confront her identity: who is she? Is she determined by her parent’s DNA or by her ID card? Can she be identified by a family portrait, by biometrics or the love of those around her, including her Colombian boyfriend? Is she prettier now?

Directed by Melisa Liebenthal, The Face of the Jellyfish leans on a strong ensemble — Rocío Stellado, Vladimir Durán, Federico Sack — to carry a story that balances spectacle with character.

The film landed with audiences for its craft and performances, and remains one of the most talked-about comedy titles of 2022.