Kiyoshi Kurosawa revisits and remakes his original 1998 Serpenth’s Path, now in cooperation with Cinefrance Studios. Made with a sure and clinical hand — Alfred Hitchcock would approve —, there’s something dense, thematically speaking, and raw in this movie that asks us if revenge has ever an end. United by the need for retribution, a man whose daughter was killed and a woman full of mysteries go in search of those responsible. And will they ever stop?
Remakes are in fashion, more so in Hollywood, of course, but they are still in fashion. 26 years after the original Serpent’s Path (1998) Kiyoshi Kurosawa joins a very small circle of directors who have made a remake of an older film of theirs, a circle that includes Alfred Hitchcock (The Man Who Knew Too Much, 1934 and 1956) but also Michael Haneke (Funny Games, 1997 and 2007). The remake is a strange beast, often the reason they exist is strictly monetary. It’s easy for a cinephile to hate remakes, the original movie already exists, why make it again???? Among other pleonasms. I understand this point of view and sometimes you can find me actively participating with a response like that. But sometimes, the reason for remaking a movie isn’t completely monetary, sometimes it’s a “flea behind the ear” that stays and stays and stays… (this is an expression in Portuguese, literal translation but please bear with me) A director remaking his own film will always be an inherently interesting proposition, whether for formal, narrative or academic reasons. 2024 was a year blessed with three films by Kiyoshi Kurosawa, in addition to Serpent’s Path you can also see the excellent Cloud in the Silvestre section. Personally, I’m very happy that Kiyoshi Kurosawa decided to take care of his “flea” 26 years later. (Rui Mendes)
