Cinema Rediscovered on Tour (Aug – Oct 2021)

Cinema Rediscovered is back for its 5th Edition (28 July – 1 August 2021) celebrating the return to cinemas with a selection of restorations and rediscoveries. The festival launches a UK wide tour of highlights available for film exhibitors to book from Aug – Oct 2021, a Watershed project with support from BFI awarding funds from The National Lottery and MUBI and partners Park Circus and Twelve30 Collective. 

The tour includes the 4K restoration of Melvin Van Peebles’ little known Nouvelle Vague infused debut feature The Story of a Three-Day Pass, an edgy, romantic film set in Paris of 1967; the 1971: The Year Hollywood Went Independent touring package (a collaboration with Park Circus), five key titles from 1971 giving a glimpse of an independent Hollywood before it was overshadowed by the birth of the franchise, revealing a parallel Hollywood universe of personal, complex, nuanced and countercultural cinema.   

 

Twelve30 Collective also tour No Place Like Home (1973), Perry Henzell‘s little known follow-up to The Harder They Come. 

Book any of the titles below under the Cinema Rediscovered on Tour banner and access: 

  • Assets (copy, images, trailers, bespoke content such as pre-recorded intros)  
  • National PR campaign (Sarah Harvey PR) and MUBI cross promotion. 
  • Invitation to Cinema Rediscovered ‘s Reframing Film industry sessions (29 – 30 July) and access to a 50% partner discount to festival tickets. 

Need some inspiration about how to go about programming repertory and archive films? Take a look at our Reframing Film sessions on 29 – 30 July (FREE online) as part of Cinema Rediscovered.

  • Full Booking information download: Cinema_Rediscovered_on_Tour_2021 (PDF) Download

A summary of the 3 packages on offer:

The Story of a Three Day Pass (1967) 

A New 4K restoration by IndieCollect in consultation with Mario Van Peebles, with support from the Hollywood Foreign Press Association. 

Melvin Van Peebles’s edgy, angsty, romantic first feature could never have been made in America. Unable to break into a segregated Hollywood, Van Peebles decamped to France, taught himself the language, and wrote a number of books in French, one of which,  La Permission,  would become the basis for his stylistically innovative feature debut. Turner (Harry Baird), an African American soldier stationed in France, is granted a promotion and a three-day leave from base by his casually racist commanding officer and heads to Paris, where he finds whirlwind romance with a white woman (Nicole Berger) – but what happens to their love when his furlough is over?

Channelling the brash exuberance of the French New Wave, Van Peebles creates an exploration of the psychology of an interracial relationship as well as a commentary on France’s contradictory attitudes about race that is playful, sarcastic, and stingingly subversive by turns, and that laid the foundation for the scorched-earth cinematic revolution he would unleash just a few years later with Sweet Sweetback’s Baadasssss Song.  

Bookings: cinema.rediscovered@watershed.co.uk 

Format: DCP 

Assets: new trailer

Park Circus & Cinema Rediscovered present: The Year Hollywood Went Independent 

Following the success of Easy Rider in the late 60s, Hollywood was searching for the next big thing and gave the greenlight to outsiders, mavericks and cultural renegades. 1971 marked their zenith. Monte Hellman’s Two-Lane Blacktop (Universal), Alan J. Pakula’s Klute (Warner Bros.), Bob Rafelson’s Five Easy Pieces (Sony), Robert Altman’s McCabe and Mrs Miller (Warner Bros.) and Peter Bogdanovich’s The Last Picture Show (Sony), all released in 1971, reveal a parallel Hollywood universe of personal, complex, nuanced and countercultural cinema.  

 

Women were key to this creative moment whether in front of the camera: Jane Fonda(Klute), Julie Christie(McCabe and Mrs Miller) and Cloris Leachman (who sadly passed away recently and  won a  Supporting Actress Oscar ®  for The Last Picture Show); or behind the camera: Polly Platt (The Last Picture Show) and scriptwriter Carole Eastman (Five Easy Pieces).  From the perspective of 2021, these films give a glimpse of a personal, complex, nuanced cinema before it was overshadowed by the tentpole release and offer a unique perspective on America and American film.  

 

5 Titles Season Deal: 35% v £75 MG per title + individual £60 DCP combo drive (contains all 5x titles).’ Cinemas booking 2 or more titles including Two-Lane Blacktop from the package would receive all 5 titles as part of combo DCP. Cinemas booking one title only can do so, confirming terms and delivery cost/method with Park Circus Sales Team. 

 

Bookings: sales@parkcircus.com 

Format: DCP (available as combo package) 

 

Assets: The 1971: The Year Hollywood went independent season will be supported by a brand-new season trailer, the poster artwork above and editorial/intros from guests including Invisible Women, Jason Wood, Amos Levin, Gaylene Gould and Mark Cosgrove. 

Twelve30 Collective presents: No Place Like Home (1973) 

Perry Henzell’s little known follow-up to The Harder They Come.

This road movie through ‘70s Jamaica, which introduces actress Grace Jones, is the memorable last testament of an undeniably great filmmaker with a handpicked soundtrack including Bob Marley, Etta James, Carly Simon, Toots & The Maytals and more.  Susan (Susan O’Meara) is the American producer of a shampoo commercial being shot in Jamaica. When the star, PJ (PJ Soles, Carrie and Halloween), abandons the shoot, Susan sets out to find her, with charismatic local fixer Carl (Carl Bradshaw, The Harder They Come). Making their way through the countryside Susan and Carl find themselves attracted to each other. Neither of them, however, has any illusions about the separate and unequal worlds to which they belong.  

If The Harder They Come took its cues from Sergio Leone’s westerns and the Blaxploitation films of Gordon Parks and Melvin Van Peebles, the naturalistic and improvised No Place Like Home reveals Perry Henzell’s affinity with the cinema of John Cassavetes, Robert Altman and Dennis Hopper. Shot on Super 16mm, No Place Like Home celebrates Jamaica’s natural beauty even as it casts a wary eye over the island’s tourist economy and the complications that come with it. 

Format: DCP and Blu-Ray 

Bookings: twelve30collective@gmail.com 

Potential tie-ins with Jamaican Independence Day (6 Aug) &  Black History Month (Oct.) Guest speakers: Jonathan Ali and Lisa Harewood, co-curators of the Twelve30 Collective may be available for special events.  

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