剧情简介
康(kāng )沃尔渔村的风(fēng )景(⛲)明信片(🥇)田园(📒)诗误导了人们。虽(suī )然(🕟)过去钓(diào )鱼(yú )是(shì )(🤢)一(🤴)种养(yǎng )家(🔧)糊口的方式，但(dàn )如今(jīn )富有(yǒu )的(de )伦敦游客纷纷下山，取(qǔ )代了当(🏇)地(♑)人，当地人(rén )的生计(jì )(🔸)因此受到威(wēi )胁。史(🕯)蒂文和马丁兄弟(🛹)的(de )关系也很紧张(zhāng )。马丁是一(yī )个没有船的渔夫(🚑)，因(🥀)为史蒂文开(kāi )始用它来(lái )为一整天(tiān )的(🔩)游客提供(gòng )更赚钱的(de )旅游。他(🦗)们(men )(🌑)卖掉了(㊗)这座家(💻)庭别墅，现在(🐑)看来，最(🤸)后(🌞)一(yī )场战(zhàn )斗(dòu )是(shì )和(💪)新(⛓)主(zhǔ )人在海(🍄)边的(🥫)停车位上(🔔)展(🚻)开(🤲)。然而，情况很快就失控了，而(ér )不(bú )仅仅是因为车(chē )轮夹钳。 Bait是(shì )一种黑(🐾)白(🦇)，手工制(🏻)作，16毫(👪)米胶片(piàn )制作的(de )电(diàn )影。许多关于(yú )鱼、网、龙(🐡)虾、长靴(🔍)、绳结和渔篮(lán )的特写镜头让人(rén )想起了蒙(méng )太奇(🏴)景点的理论。对不同社(shè )会阶(jiē )(💣)层的描述—(⏳)—可以说是(🔲)阶(👛)级关系——也让人(rén )想起(qǐ )了(le )英国电影中(zhōng )的社会(huì )现实主(🎴)义传统。然而，最重要的是，在(zài )影像中不同(🌲)层次(🈂)的电影历史参(👼)考文(wén )(🐅)献(⛅)之下，当(🈸)前许(🛃)多政治关联正在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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