In her second book, the actress and writer delves into the labyrinth of identity through a thread of foreign and familiar photographs.
In Cara de foto, Marina Saura's second book, the protagonist, Olga, a reflection of Marina, speaks from a self-narrator who places us in the author's life. She wants—in Saura's words—to find her reality, and that this happens by getting to know the models she's had, fleeing from them, and seeking her own to tell the story of a family in which the mother is the protagonist. which is the sum of her life and the lives of many of the women who have accompanied her over the years. Because Marina, like Olga, knows that 'photography mechanically repeats what can never again be existentially repeated' to paraphrase Roland Barthes.
In 'Cara de foto', Marina Saura weaves a web of autofiction in which the narrator, whom we meet at all ages (child, young woman, adult), although not chronologically, draws us into the labyrinth of her identity through a thread of photographs foreign and of family members. These photographs, some real and others a reflection of a memory, must be reconstructed in our minds as we read on. Only two of them will reach us as images in the book itself.
