剧情简介
康沃(🕕)尔渔村(cūn )的风景明信片田园诗误导了人们。虽然过(guò )去钓鱼是一(🤴)种养家糊(hú )口(kǒu )的方式，但如今富(🏴)有的伦敦(💤)游客纷纷下山(⏬)，取代了(le )当(🏇)地(dì )人(rén )，当地人的(de )生计因此(🎩)受到(🗄)威胁。史蒂文(🙍)和(hé )马(mǎ )丁兄(xiōng )弟(🛹)的关系也很(🕌)紧(🛺)张。马丁是一个没有船(😻)的渔夫，因为(wéi )(🕕)史(🤯)蒂文(🐖)开始用它(⏺)来为一(📎)整天的游(🥁)客(kè )提供(🚨)更赚钱的旅游。他们(men )卖掉(diào )了这座(zuò )家(💻)庭别墅，现在看(🏂)来，最后一场战斗是(🙉)和(💪)新(⛓)主(zhǔ )(🎾)人在海(hǎi )边的停车(👃)位上展开。然而，情(qíng )况(⛳)很快就失(🥕)控了，而不仅仅(⚾)是(🕯)因(yīn )为(wéi )车轮(lún )(🤘)夹钳。 Bait是一种黑白，手工制(zhì )作，16毫米胶片(piàn )制作的电(🚶)影。许多关于(yú )鱼、网、龙虾、长靴(🔍)、绳结和(hé )渔篮(lán )(👌)的(de )特写(xiě )(🥤)镜(jìng )头让人(💸)想起了蒙(méng )太奇景点的理论。对不同社会(huì )阶层的描(miáo )述——可(kě )(🚽)以说是(shì )阶(jiē )级(jí )关(guān )系——也(🚻)让人(rén )想起了英(⏺)国电(diàn )(🧘)影(💅)中的社会(huì )(✖)现实主义传统。然(⛴)而(ér )，最重(chóng )要的是，在影像中(zhōng )不同(🌲)层次的电影历史(shǐ )参(cān )考文献之(zhī )下，当前(qián )许多政治(🕵)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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