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Starting from several Eisensteinian publications from the late 1920s, this article discusses the problem of a deep, essential closeness between the language of cinema as the perfect symbiosis of language and technology (and the film camera as the perfect machine) and different modes of Eastern/Japanese traditional culture: haiku poetry, kabuki theater, traditional ukiyo-e painting, and the nature of pictographic writing itself. This “language” plot is considered as part of the large-scale turn in Western culture/ art in the early twentieth century as a radical crisis-renewal act of overcoming one’s own “classical” tradition of relation to reality. The “second” Heidegger and particularly “A Dialogue on Language between a Japanese and an Inquirer”(1953/54) was used as a philosophical paradigm of the plot.

Released in 2016, Paolo Genovese’s well-received film “Perfect Strangers” has been remade 18 times by July 2019 and was included in the “Guiness Book of Records”. This comparative case study analyses the Italian film, its Spanish version, as well as the French remake and the Russian variation. The paper explores the intermedial content of the orig- inal film representing the smartphone as a dispositive generating framed narratives in the main plot. The forms of remaking as “transcultural ad- aptation”28 are related to different degrees of repetition, transformation and renewal. The premises for the film’s high “adaptative faculty”29 are therefore to be associated with the innovative intermedial structure and the potential of the plot devices to be reinvented and adapted to local reception areas.