剧情简介
康沃尔渔(🌠)村(cūn )的(de )风(🆓)景明(míng )信片田(📼)园(yuán )诗(shī )误导(🍩)了(le )人(rén )(🌰)们。虽然(🕟)过去钓鱼是一种养(🎺)家(jiā )糊口的(de )方式(shì )，但如(rú )今富(fù )有(🗼)的伦敦游客纷(📿)纷下(xià )(👋)山，取(🎏)代(dài )了当地(♑)人，当(dāng )地人(rén )(⚫)的生(🕔)计因(yīn )此受到威(wēi )胁。史蒂文和马(mǎ )丁(dīng )(🔲)兄(xiōng )弟的关系也(🐖)很紧张。马丁是一(😚)个没有(🙁)船的渔夫，因为(🕕)史蒂(dì )(😱)文(wén )开(🤷)始用它来(🚢)为一整天(🚣)的游客提供更赚钱的(🖲)旅(🔢)游。他们卖(mài )掉了这座家庭别墅，现在看来，最后一场战斗是和新主人在海(🍄)边的(de )停(tíng )车位上展开。然而，情况很快就失控了，而不(bú )仅仅是因为(wéi )车轮夹钳。 (💔)Bait是一种黑白，手工(➡)制作(🐛)，16毫米胶(jiāo )片制(🌪)作的电影。许多关(😝)于鱼、(🙎)网、龙虾、长靴、绳结和渔(🔤)篮的特(tè )写镜头让人想起了(le )蒙太(tài )奇景点(diǎn )的理论(lùn )(🔙)。对(duì )不同社会阶层的描(🌸)述(shù )——(🏓)可以(yǐ )说是(🔲)阶级关系——也(🚻)让人想起(qǐ )了英国电影(💅)中(🤼)的社(shè )会(huì )现(🕺)实主(🎴)义(yì )传统。然而(ér )(🏸)，最重要的是，在(zài )影(yǐng )像中不(🔍)同(🌲)层次的电(🐌)影(🐱)历史参考(kǎo )文(wén )献之下，当前许多政(🍾)治关联正(zhèng )在等待被发(fā )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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