Let’s try to imagine a kind of remake that, no matter who the viewer is, does not betray the image they had formed of the original. A remake that is just as empty as its viewer if the latter 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.