剧情简介
康沃尔渔村(cūn )(👷)的风(fēng )(🆓)景明(✒)信片田园诗误(🐌)导了(🔼)人们。虽然过去钓鱼(yú )是(shì )一种养家糊口的方式，但如今富(🏴)有的伦(🥩)敦(dūn )(💤)游(yóu )客纷(📿)纷下山，取(qǔ )代(❣)了当(dāng )地人，当地人的(de )(🐿)生计因(yīn )(👑)此受到威胁。史(shǐ )蒂文和(hé )马丁兄(🥄)弟的关系(xì )也(🐖)很紧张。马(mǎ )丁是(shì )一个没有船的(de )渔夫(fū )，因为史蒂文开始(🔊)用(💞)它来(lái )为一整天(tiān )的游客提供更赚钱(qián )的旅游(yóu )。他(🦗)们卖掉了(le )(㊗)这座家庭别墅，现在看(🏂)来，最(zuì )(🤸)后一场战斗是和(💪)新主(🎾)人在海(hǎi )边(⛏)的停(🤷)车位上(🔔)展开。然而，情况很快(🤳)就失(🥕)控了，而不仅仅(jǐn )(⚾)是(🕯)因为车轮(🤘)夹钳。 Bait是一种黑白，手(🈸)工制作(🐛)，16毫米(mǐ )胶片(piàn )制(zhì )作的(🌼)电(diàn )影(💹)。许(xǔ )多关于(🔈)鱼、网(wǎng )、(🎥)龙虾(🈺)、长(📧)靴(🔍)、绳(shéng )结(⏲)和渔篮的特写镜头让人想起了蒙太奇(qí )景点的(de )理论(lùn )。对不(bú )同(tóng )社会(🔫)阶(jiē )(💣)层(céng )的描述(shù )——可以(yǐ )说是(🔲)阶(jiē )级关系——(📤)也让人想(xiǎng )起了(le )英(⏺)国(👩)电影中(zhōng )的社会(huì )现实主义传统。然(rán )而，最重要的是(shì )，在影(🐈)像中不同层(céng )次的电影历(lì )史参考文献(xiàn )之下，当前(qián )许多政治关联正在等待被(🔍)发(fā )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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