剧情简介
康沃(🕕)尔渔村的风景(⛲)明(✒)信(🐽)片田园诗误导了人们。虽然(rán )过去(🛍)钓鱼是一种养家(jiā )糊口(kǒu )的方式，但(🌰)如今富(fù )有的伦敦游(yóu )客纷纷下(xià )(👋)山，取代了当地(♑)人，当地人的生计因(👑)此受(🤷)到威(🛍)胁。史蒂文(wén )和(hé )马(mǎ )丁兄(xiōng )弟的关系也(yě )很紧(jǐn )张(zhāng )。马丁是一个没有(yǒu )(🙁)船的渔夫，因(yīn )为史蒂文(🐖)开(kāi )(🤷)始用它(⏺)来为一整(zhěng )天(tiān )的(de )游客(🌚)提(tí )供更(gèng )赚钱的旅(🔢)游(yóu )。他们卖掉了(㊗)这座家庭别墅，现在看来，最后一(🙄)场(chǎng )战斗是和(hé )新主人在海(🍄)边的停车位(wèi )上展(🚻)开。然(rán )而，情况很(hěn )快就(jiù )失(🥕)控(🕐)了，而不仅仅是因为车轮(🤘)夹钳(❕)。 Bait是一(yī )种黑(hēi )白，手(🈸)工(gōng )制(zhì )作(🐛)，16毫(👪)米胶(jiāo )片制作(💅)的(🌼)电影。许(xǔ )多关(😝)于鱼(🏒)、网(💿)、(🎥)龙虾、(🤔)长(📧)靴、绳结和渔(🔤)篮(👌)的特写镜头(tóu )(👵)让人想起了(le )(🍽)蒙(méng )太奇景点的理论。对(👄)不(bú )同社(shè )会阶层的描述——可(kě )以说是阶(👛)级关系——(📤)也让人想起(qǐ )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(🍯)不同层(céng )次的电(🐌)影历史参考(kǎo )(😲)文献之下，当(dāng )前许多政治关联正(📯)在等待被(bèi )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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