As if in a Kafkaesque nightmare, one day, in her early thirties, Marina’s face suddenly changed. Taking refuge in her parents’ house, Marina searches through her family’s old photo albums. She analyzes and compares her images with the faces of her family. How do I know if I look like the photos? How do I know that this face is mine? I don’t look like anyone else anymore. Where does this face come from? This extraordinary event embodies the film’s underlying theme: how our face becomes equivalent to our identity and the weight that our image has in defining us and in the way we relate to others. Marina investigates and thinks. In zoos, there are animals that have identities and others that do not: bears, tigers, and dolphins are identified with signs with their proper names and even biographies, but for all other animals, such as most aquatic species, small reptiles, and birds, individual identification is indifferent, even impossible. Jellyfish float in their tanks, all identical to each other, interchangeable, faceless and without eyes. The Face of Medusa takes us on a hybrid journey between fiction and documentary, inviting us to ask ourselves: can there be identity without a face? Can there be a face without an identity? Where does our identity reside? How do we connect with others if there is no face? Selection of the Berlin Film Festival.