剧情简介
康(🈯)沃尔渔村的风景(⛲)明信片田园诗误导了人(🌰)们(men )。虽然(rán )(🕟)过(guò )去钓(diào )鱼是一种(🍥)养家糊(hú )口(kǒu )的(de )(🆖)方式(shì )，但如(🍖)今富有的(de )伦(lún )敦游客(🎾)纷纷下(👋)山，取代(❣)了(le )当地人，当地(dì )(🖲)人(rén )的(de )生计(jì )(🔸)因(👑)此受到威(🛍)胁。史蒂(dì )文和马丁兄弟(dì )的关系(xì )也很(🕌)紧张(📞)。马(mǎ )丁是一个没有船(chuán )的(🚸)渔(🖍)夫，因为(wéi )史蒂文开始用它(tā )来为一整天(tiān )的游客提(📯)供更(🛑)赚钱的旅游。他们卖掉了这座家庭别墅，现(xiàn )在(zài )看来，最后(hòu )一场(chǎng )战斗是和新主人在海边(⛏)的停(🤷)车位上展开。然(rán )而，情(qíng )况很(hěn )快就失控了，而不(🧣)仅仅(⚾)是(🕯)因为(wéi )车(chē )轮(lún )(🤘)夹(jiá )钳。 Bait是(shì )一种(zhǒng )黑白，手(shǒu )工制(🏻)作，16毫(👪)米胶(jiāo )片制(🌪)作(zuò )的(🌼)电(🚶)影(💹)。许多(duō )关于鱼、网、(🎥)龙虾、长靴、绳结(⏲)和渔(yú )篮的特写镜头(tóu )(👵)让人想起了蒙太奇(🏴)景点的理(🌂)论。对不同社会阶层的(🚡)描(miáo )述——可以(🎐)说(shuō )是阶级关(😳)系——也让(ràng )人想起了英国电影中的社(📬)会现实主义传(🚤)统。然(⛴)而，最重要的是，在影像中(🍯)不(bú )同层次(cì )的(de )电影历史参(cān )考文献之下，当前许多政(🍾)治关(🎞)联正(zhèng )在(🐇)等(děng )(♊)待被发现。 (🏆) The picture-postcard idyll of the Cornwall fishing village is misleading. While fishing used to be a way of supporting oneself, wealthy London tourists have now descended and are displacing the locals, whose livelihood is thus threatened. The relationship between brothers Steven and Martin is also strained. Martin is a fisherman without a boat, since Steven started using it for far more lucrative tours for all the day-trippers. They’ve sold the family cottage and now it seems that the final battle to be fought is that with the new owners over the parking space next to the sea. Yet the situation soon gets out of hand, and not just because of the wheel clamp. Bait is a black-and-white film shot on hand-processed 16mm. Numerous close-ups of fish, nets, lobsters, wellington boots, knots and catch baskets bring to mind the theory of a montage of attractions. The depiction of the different social strata – one could speak of class relations – is also reminiscent of the tradition of social realism in British cinema. Above all, however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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