One morning, Marina, a woman in her thirties, wakes up with a different face. Who is she now? The Face of the Jellyfish is a playful research about visages, both human and animal, and their central importance in defining our identity and relationships. Who are we beyond our faces, our images?
The second feature by Melissa Liebthal (Aqui y alla, BIEFF 2020), one of the most prominent figures of Argentina’s current young generation of filmmakers, is, in the words of its author, a “fictional essay”: one half is a narrative thread that follows the protagonist’s Gregor Samsa-like transformation (a humoristic narrative, yet nonetheless containing Kafkaesque interactions with the authorities), the other is a freewheeling exploration of the concept of biometry and, in particular, its application to animal “faces”. After all, how does one identify or distinguish a given specimen? How much does our identity rely on our biological characteristics? Using her own face as the one that was lost, Liebthal simultaneously opens up new experimental possibilities within the territory of auto-fiction and auto-ethnography. (Flavia Dima)
Melisa Liebenthal has directed the films The Pretty Ones, Constanza, Here and There and The Face of the Jellyfish, with which she won awards at Rotterdam, Mar del Plata and Berlinale and was featured in MoMA and Film at Lincoln Center, amongst others. Her work reflects on identity and its relation to the construction of an image. Her films explore and combine different materials with humor and playful spirit, from documentary and visual experimentation to narrative fiction, always keeping a lively awareness of the specificity of each type of image. She is a film graduate at Universidad del Cine in Argentina and at Le Fresnoy. She specialized in Editing and Dramatic Structure with professor Miguel Pérez in Argentina, and in Essay-Film at Escuela Internacional de Cine y Televisión (EICTV) in Cuba. She is a Berlinale Talents (2021) and FID Campus (2018) alumna.