Revisited and Remade

Revisited and Remade is a multi-part series exploring the question: when a filmmaker revisits a subject, what is kept and what is changed? The series was guest programmed by Hani Moustafa, a fellow friend, filmmaker, photographer, educator and frequent audience member at filmfront.

Part I: Good Thievery


by Pier Paolo Pasolini
1962, digital projection, 33 min

La Ricotta follows the character Stracci (or “rags”), an extra on the set of a film about the life of Christ. Orson Welles stars as the film's director while Stracci, playing the part of the "good thief", constantly tries to share the set's food with his hungry family, resulting in a beautiful mixture of farce and social commentary.

by Pier Paolo Pasolini
1964, digital projection, 137 min

"I recognized the desire to make THE GOSPEL from a feeling I had. I opened the Bible by chance and began to read the first pages, the first lines of St. Matthew’s Gospel, and the idea of making a film of it came to me." — Pier Paolo Pasolini


Part II: "Thou Shalt Not Covet"


by Krzysztof Kieślowski
1988, digital projection, 58 min

Originally created for Polish television, the DEKALOG is a ten-part miniseries drawing on the themes of the Ten Commandments and the "spiritual undercurrents of life in late-Communist Poland" within the space of a grim, oppressive housing complex.

by Krzysztof Kieślowski
1988, digital projection, 68 min

When Kieślowski was given the funding to turn two of the segments of DEKALOG into feature-length films for theatrical distribution, his first choice was episode six, which would become A Short Film About Love that same year.


Part III: Modern Manners


by Harun Farocki
1990, digital projection, 78 min

"How To Live In The FRG assembles out of a wealth of details a picture of a society in which childbearing and dying, crying and taking care of people, crossing streets and killing are taught and learned in state or private institutions, indeed have to be learned. The real mechanical ballet is not danced by machines but by people, who move to a music that feeds on bombastic phrases from the realms of social work, bureaucracy and therapy. All together, the collected scenes appear to support the view that a mentality of insurance and providing for the future prevails in the FRG, a country in which happiness as well as misery are supposed to be disciplined by means of social techniques and freed from any measure of unpredictability. And yet How To Live In The FRG goes beyond such an interpretation. The participants in the games, tests, and therapy sessions are not degraded into pieces of evidence for some theory or other. They retain, to varying degrees, something of their dignity. This is a result of Farocki's working method: he has edited the scenes in such a way that even the most nonsensical occurrences as it were explain themselves." — D. Leder

by Harun Farocki
1996, digital projection, 58 min

"In the summer of 1996, we filmed application training courses in which one learns how to apply for a job. School drop-outs, university graduates, people who have been retained, the long-term unemployed, recovered drug addicts, and mid-level managers - all of them are supposed to learn how to market and sell themselves, a skill to which the term 'self management' is applied. The self is perhaps nothing more than a metaphysical hook from which to hand a social identity. It was Kafka who likened being accepted to a job to entering the Kingdom of Heaven; the paths leading to both are completely uncertain. Today one speaks of getting a job with the greatest obsequiousness, but without any grand expectations." — Harun Farocki