剧情简介
康(kāng )沃尔渔村的风(🆓)景明信片田园诗(🏽)误导(🍩)了人(🌰)们。虽(😘)然过(🕸)去(🛍)钓鱼是一种养(yǎng )家糊口(kǒu )的(de )方式，但如今富有的伦敦(💤)游客纷纷下山，取(🎏)代了当(🏇)地人，当地人的(de )生(shēng )计因此受(🤷)到威(🛍)胁。史蒂文和马(mǎ )丁兄(xiōng )弟的关系也(yě )很紧张。马丁是一个没(✖)有船的(de )渔夫(🚑)，因为史蒂(dì )文开(🤷)始用它来为(🌙)一整(🧚)天的(🔩)游客(kè )(🌚)提供更赚(⏯)钱(qián )的旅(lǚ )游(yóu )(❔)。他(🦗)们卖(mài )掉了这(🥎)座家庭别墅，现在(🐑)看来，最后一场(㊙)战斗(🙀)是(shì )和新主人在海边的停(tíng )车位(wèi )上展(zhǎn )开。然(rán )而，情况(kuàng )(⛳)很(hěn )快就(🎋)失(shī )控了，而(🚴)不仅(🤖)仅是(🕯)因(yīn )为车轮夹钳(qián )。 Bait是(shì )一(yī )种(zhǒng )黑(hēi )白，手工制(zhì )作，16毫米胶片制作的电(🚶)影。许多关(😝)于鱼(yú )、网(💿)、龙虾(🈺)、长靴、(😙)绳结和渔篮的特写镜头让人想起了(le )蒙太奇景点(diǎn )(📐)的理(🌂)论。对不同社会阶层的(de )(🚡)描述——可以说(🍁)是阶级(🕕)关系——也让人想(xiǎng )起了英(yīng )国电(diàn )影中的社会现(xiàn )实主义传统。然而，最(zuì )(💁)重(chóng )要(yào )的(🧥)是，在影像中(zhōng )不同层次的电影(yǐng )历史参考文献(⛅)之(🏡)下，当前许多政治关(🎞)联正(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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