剧情简介
康沃尔渔村的风景明信(🐽)片田园诗误导了人们。虽然(🕟)过(guò )去钓鱼是一(🤴)种养家(jiā )糊口的方式，但如今(jīn )富有(🗼)的伦敦游客纷(📿)纷下(xià )山(⏬)，取(🎏)代了当(dāng )(🏇)地(dì )(♑)人，当地人的生计(jì )因此受(shòu )(🤷)到威(wēi )胁(xié )。史蒂文和马丁(dīng )兄弟的关系(xì )(🚥)也很紧张。马丁是一(yī )个没有(yǒu )船的渔(🖍)夫，因(yīn )为(🕕)史(🤯)蒂文开(🤷)始用它来(🚢)为一整(🧚)天的游(yóu )客(kè )提供更赚(⏯)钱(😞)的旅(lǚ )游。他们(men )(🌑)卖掉了(㊗)这(🥎)座家(jiā )庭别(bié )墅(shù )，现在(🐑)看来(🙌)，最后(🌞)一场战斗是(🙉)和新(xīn )主(zhǔ )人在海边(biān )的停车(👃)位上(shàng )展开。然而，情况(⛳)很快(🤳)就失控了(le )，而(ér )不(🧣)仅(jǐn )仅(⚾)是因为车(🗳)轮夹钳。 Bait是一种黑白(bái )，手工(gōng )制作，16毫(háo )米胶片(piàn )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(xiě )镜头让人想起了蒙太奇景点(📐)的理(🌂)论。对不同社会阶层的描述——可(🚽)以说是阶级(🕕)关(guān )系——也(yě )(🚻)让人想起了英国电(diàn )影(💅)中的社会现实(shí )主义传统。然(⛴)而，最重要的是(🔮)，在影像中不同(tóng )层次的(🚪)电影历史参考文献之下，当(dāng )前(🙅)许多政治(zhì )关联(lián )正在等待(👆)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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