El rostro de la medusa

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? (Liebenthal’s first feature is called Las lindas, or The Pretty Ones). The film is economic in budget and form but works playfully with simple computer graphics and 2D animation to reinforce Marina’s quest, which also makes several stops in zoos and museums so Marina can compare herself with other forms. For as Rilke says: “With all its eyes the creature-world beholds the open”.