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Let’s try to imagine a kind of remake that, no matter who the viewer is, does not betray the viewer’s own conception of the original. A remake that is just as empty as its viewer if the viewer is unfamiliar with the original work. A remake that explores the impossibility of the remake (everything, here on earth, happens only once). A remake that serves as proof - if any were needed - that a work is reinvented with every new encounter. A remake that is, in its own humble way, both a critical theory of cinema and, why not, a critical theory of copyleft.