A Palimpsestuous Interpretation of Ramin Bahrani’s Fahrenheit 451. Drawing on a poststructuralist approach to adaptation as an instance of intertextuality (Stam 2000) and Linda Hutcheon’s metaphorical description of adaptations as palimpsests (2006), this paper will analyse the ways in which Ramin Bahrani, director and co-writer of the script of Fahrenheit 451 (2018, HBO), rewrote Ray Bradbury’s dystopian novel by the same name, leaving only traces of the source text visible in his appropriation. Supposedly reimagining Bradbury’s text for a new generation of viewers, digital natives of the online virtual worlds, the film reads more like a heavy-handed filmic palimpsest that allows only some of the book’s ideas and memorable lines to resurface from underneath the new writing. Relying mostly on visual spectacle and the screenwriter-director’s own concerns about the fragility of civil rights, democracy and humaneness in a world increasingly controlled by certain interest groups through the internet and social media, the film leaves audiences wondering about the appropriateness of the title—an anchoring device promising a straightforward adaptation of the text—and the film’s actual relation with Bradbury’s novel. Keywords: palimpsestuous interpretation, appropriation, Fahrenheit 451, Ramin Bahrani, Ray Bradbury, dystopia, technology