剧情简介
康(🈯)沃尔渔村的风景明信片田园(📒)诗误导(dǎo )了人们。虽然过去钓鱼是(shì )一种养家糊口(🎹)的(🆖)方式，但如今富有的伦敦游(yóu )客(kè )纷纷下山，取(qǔ )代了(le )(🌗)当(🏇)地人，当(🚤)地人的(🐿)生计(🔸)因此受到威胁。史蒂文和马(mǎ )丁兄弟(dì )的关系也(🐖)很(hěn )(🕌)紧张(zhāng )(📞)。马丁是(🗑)一个(gè )没有船的(🚸)渔夫(fū )，因(yīn )(🥀)为史蒂文开始用它来(🚢)为一整天的(de )游(yóu )客提供更赚钱的旅(lǚ )游(yóu )。他们(men )卖掉了这座家庭别(🙂)墅，现在看来(🙌)，最(zuì )后一场战斗是和新主人(⏰)在海(🍄)边的(🥫)停车位上展开。然(rán )而，情(👺)况很快就失控(kòng )了，而不仅仅(jǐn )是因为车轮(lún )夹(🈁)钳(❕)。 Bait是(🛎)一(yī )(💍)种黑(hēi )白，手工制作(zuò )，16毫米胶片(piàn )(🃏)制(🌪)作的(de )电影(yǐng )。许多关于鱼、网、龙虾、长靴、绳结和渔篮的特写镜(🔷)头让(♌)人(💸)想起了(le )蒙(méng )太(🔞)奇景点(diǎn )的理论(🔙)。对不(🐖)同社(shè )会阶层的描(miáo )述——(🏓)可以说(shuō )是阶(👛)级(jí )关系——也让(ràng )人想(🐂)起(👚)了英(yīng )国(👩)电影中的社会现实主义传统(tǒng )(🚩)。然而(ér )，最重(chóng )要的(🧥)是，在影像中不同层次(cì )的电影(🐱)历(lì )史参(👼)考文献(⛅)之下，当前许(xǔ )多政治关联正(📯)在等(děng )(♊)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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