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(diào )(🔱)鱼是一种(zhǒng )养(🎺)家糊口(🎹)的方(fāng )式(🐉)，但如(rú )(🍖)今富有的伦(lún )敦游客纷(fēn )纷下山(⏬)，取(🎏)代(dài )了(🌗)当(🏇)地人，当地(dì )人的生计因此受(🤷)到威胁(🎡)。史蒂文和马丁兄弟的关系也(yě )很紧(jǐn )张。马(🎫)丁(🥞)是(🗑)一个没有船的(de )渔夫(fū )，因为史蒂文开始用(💞)它来为一整(zhěng )天的(de )游(yóu )(🥁)客提供(🚨)更(gèng )(🛑)赚钱的(🖲)旅游(yóu )。他们(men )卖掉了这(zhè )座(🥔)家庭(🗞)别墅，现(xiàn )在看来，最后一场战斗是(shì )和新主人在海边的(🥫)停车(👃)位(wèi )上展开。然(⛳)而，情况很快(🤳)就失控(kòng )了(🐀)，而不仅仅是(shì )因为车轮夹钳。 Bait是(shì )一种(zhǒng )黑(hēi )白，手(shǒu )工制(zhì )作(🐛)，16毫米胶片制(zhì )作的电影。许多关于鱼、网、龙虾、长靴、绳(shéng )结和渔篮(lán )的特写镜头让人想起了蒙太(tài )奇景点(📐)的(de )理论。对不同(tóng )社会阶层的描述(shù )——可以(🎐)说是阶级关系(👗)——(📤)也让(🍺)人想起了英(⏺)国(👩)电影中(zhōng )的社(shè )会现实主(🎴)义传(chuán )统。然而，最重要的(🧥)是(shì )，在(zài )影像中(🍯)不同(tóng )层次(🈂)的电(🐌)影历史参考(kǎo )文(wén )(🐅)献之(🏡)下，当前(🙅)许多政治关联(lián )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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