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The Face of the Jellyfish

Name: The Face of the Jellyfish
Director: Melisa Liebenthal
Released: 2022
Duration: 76 min

Representation Score

8.6/10

Excellent

2022

Director

Melisa Liebenthal

Runtime

76 minutes

Average Rating

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New Showbiz Analysis

Melisa Liebenthal’s film is a sophisticated, experimental study of identity that succeeds through its visual diversity. Its greatest strength lies in its refusal to adhere to a singular, Anglo-centric aesthetic norm, instead presenting a diverse array of human features. While the film excels in racial and cultural representation, it remains somewhat limited in explicit LGBTQ+ or disability-centric storylines. It operates more on a conceptual level, using the fluidity of identity to suggest progressive values rather than through direct character representation. Ultimately, the work is a postmodern deconstruction of the 'norm.' It challenges how we categorize humans, moving the conversation from social labels to the biological and existential realities of the human countenance.

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Category Breakdown

Does The Face of the Jellyfish have LGBTQ+ representation?

Fair

The film does not include specific LGBTQ+ narratives or characters who don't identify with their birth gender. However, its exploration of the unstable nature of identity challenges fixed, straight-centered assumptions.

How does The Face of the Jellyfish portray gender?

Good

By removing traditional gender roles, the film avoids typical gender hierarchies. It challenges the male gaze through a neutral, observational look at facial mechanics and biological beauty.

How racially and ethnically diverse is The Face of the Jellyfish?

Excellent

The film excels by showcasing a wide range of ethnicities through close-up shots. This approach avoids including someone from a minority group without giving them real depth and decenters Western beauty standards in favor of a globalized tapestry.

How does The Face of the Jellyfish represent religion and culture?

Good

The narrative critiques institutional frameworks like state IDs and biological essentialism. It questions Western concepts of identity by asking if identity is rooted in DNA or social recognition.

Does The Face of the Jellyfish include disability representation?

Fair

The film does not center on disability, yet its contemplative style allows for various physical expressions. It avoids clichés by not framing physical differences through struggle or triumph.

Present on Screen

Exceptional racial diversity through a globalized tapestry of facial features.
Effective subversion of traditional gender roles and the male gaze.
Strong critique of institutional frameworks used to categorize human identity.

Limited or Absent

Lack of explicit LGBTQ+ narratives or non-assuming gender matches what was assigned at birth character arcs.
Minimal focus on disability as a central or specific theme.
Absence of direct representation for specific religious or underrepresented groups.

Official Synopsis

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?

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