剧情简介
康(🈯)沃尔(ěr )渔(yú )村的风景明(✒)信(🐽)片(piàn )田园(yuán )(📒)诗(shī )误导了人们(🃏)。虽然过去钓鱼是一(yī )种(zhǒng )(🍥)养家糊口的方式，但(dàn )如今富(🏴)有的(🐮)伦(🥩)敦游客纷纷下(👋)山，取代(❣)了当地(♑)人(📼)，当地人的(🐿)生计因(👑)此受到威胁。史蒂文和马(mǎ )丁兄弟的(🚉)关系也很(🕌)紧(🛺)张。马丁是一个没有(🙁)船的(🚸)渔夫，因(yīn )为史蒂文开始(shǐ )用(yòng )它来为一整(🧚)天的游客提供更赚钱的(de )旅游。他们(🌑)卖掉了这(zhè )(🥎)座(🥔)家(💻)庭别(bié )(🙂)墅(shù )，现(✋)在看来，最后一场战斗是和(💪)新主人在(🈴)海(🍄)边的停(🤷)车位上展开(🤲)。然而(😍)，情况很快就失控了，而(ér )不仅仅是因(🌮)为车(chē )轮(🤘)夹(jiá )钳。 Bait是一(💍)种(🚗)黑白，手工(gōng )制作(zuò )，16毫(háo )米胶片制作(💅)的电影。许多(duō )(💯)关于鱼(yú )、网、龙虾、(🤔)长靴、绳结和渔篮的特写镜(🔷)头让人想(🥅)起了蒙太奇景点(📐)的理论。对不同社会阶层的(de )描(miáo )述——可以说(🍁)是阶级(jí )关(guān )系——也让人想起了(le )英(yīng )国电影中的社会现实(shí )主义传(🚤)统。然而，最(zuì )重要的是，在影像中不(bú )同层(céng )次的(de )电影历史参考(kǎo )(😲)文献(⛅)之下(✒)，当前(qián )许多(duō )政治(zhì )关(guān )联(lián )正在(zài )等待(dài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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