Untitled Film Stills is a photographic work, which was made by the artist Cindy Sherman made between 1977 and 1980. The work has been received by several sectors of feminism, which have appropriated it and have turned it into the symbol of social denunciation of feminist vindication. However, it is necessary to highlight the ambiguous nature of the work, which oscillates between different meanings and interpretations. The work has been immersed in these games of interpretation, so it has been rethought over the years from several perspectives. The main characteristic of the work is the ambiguity, which allows the coexistence of multiple positions in the understanding of this work. This investigation tries to think next to the work the question of the self, its fragility, its plurality and its mutability. In this way, the usual feminist interpretations and gender perspectives, as well as the frequent readings that have been done in the artistic sphere, will be unchecked; giving entrance to the understanding of the subject in contemporaneity, in mass culture and in consumer society. Although they are not the main axis of this investigation, feminism and gender issues will be carefully developed and articulated with the problem of the subject, since many of their approaches serve to interrogate the traditional understandings of the subject and the construction of identity. They serve to question them, rethink them and, if possible, resignify them. The fragility of the self. Thinking with the Untitled Film Stills of Cindy Sherman raises the possibility of thinking the self together with the image, developing it from the theory in a work in conjunction with the constructions and visual narratives.