剧情简介
康沃尔渔村(👷)的(🔨)风景明信片(🥇)田园诗(🏽)误导(dǎo )了(le )人们(🃏)。虽然(rán )过(guò )去钓鱼是(shì )一种(zhǒng )养家糊(🎗)口的方式(shì )，但如今富(🏴)有的伦敦(dūn )游(😧)客纷纷(fēn )下山，取(🎏)代了当(dāng )地人，当地人(rén )的(de )(🐿)生计因此(🎩)受到威(🛍)胁(🎡)。史蒂(dì )文和马丁(dīng )兄弟(dì )的关(guān )系也很紧张(zhāng )。马丁(🥞)是一个没有船的渔夫，因为史(🤯)蒂文开(kāi )始用(yòng )它来(lái )为(wéi )一(yī )整天的(🔩)游(yóu )(🥁)客提供更赚钱(qián )的(de )(🖲)旅(🔢)游。他(tā )们卖掉(diào )了这座家庭别墅，现在看来，最(🤸)后(hòu )一场战(zhàn )(👓)斗是和新主人(rén )在(🈴)海(🍄)边的停车位上展开。然而(ér )，情况很快就(🎋)失(🥕)控了，而(ér )不仅仅(jǐn )是因为车轮夹钳。 Bait是一种黑白，手工制(🏻)作，16毫米胶片制作的电影。许(🐩)多关(guān )于鱼、(🙎)网、龙虾(xiā )(🈺)、长(📧)靴、绳结(⏲)和渔篮的特写(xiě )镜头(👵)让(♌)人想起(qǐ )了蒙太奇景点(📐)的理论。对不(🐖)同(tóng )社会阶层的(de )描述——可以(yǐ )说是阶级关系——也(🚻)让人想(xiǎng )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(xiàng )中不同(🌲)层次的电影历史参考文(🐅)献之(zhī )下，当(dāng )前许(xǔ )多(duō )政(🍾)治(🕵)关联正在等待被发现(🍉)。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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