剧情简介
康沃尔渔村(cūn )的(🔨)风景明信片田园诗误导了(le )人们。虽然过去钓鱼是一种(zhǒng )养家糊(hú )口的方式，但如今(jīn )富(🏴)有的(de )伦敦游(😧)客(kè )纷纷下山(⏬)，取代了当地人(rén )，当地(dì )人的生计因此受到威(🛍)胁。史(🕯)蒂文和马丁兄弟的关系也(yě )很紧张(zhāng )。马(mǎ )丁(🥞)是(🗑)一个没有船的渔夫，因为史(🤯)蒂文开(🤷)始用(💞)它(⏺)来(lái )为一(yī )整天的游客(kè )提供更(🛑)赚钱的旅游。他(tā )们卖掉(diào )(🌊)了这(🥎)座家庭别(bié )墅，现在(🐑)看来，最后一场战斗是和新主(🎾)人在海边的停(tíng )(🤷)车位上展(🚻)开。然而，情况(kuàng )很快(🤳)就失控了，而不仅(jǐn )仅(jǐn )是因为车轮(lún )夹(jiá )钳(❕)。 (💹) Bait是(shì )一种(zhǒng )黑白，手工制作(zuò )，16毫米胶片制(zhì )作的(de )电(diàn )影(yǐng )(💹)。许多(duō )关于鱼、网、龙虾(🈺)、长(📧)靴、绳结(⏲)和渔篮的(de )特写镜头(👵)让人想(🥅)起了(🍽)蒙太奇(🏴)景点(📐)的理论。对不同社(shè )会阶层的描述——可以(yǐ )(🎐)说是(🔲)阶(👛)级(jí )(🕕)关系——也让(🍺)人想起(👚)了英(yīng )国电影(💅)中的社会(huì )现实主义传统。然而(ér )，最(zuì )重要的是，在影像中不同层(💕)次(🈂)的(de )(🚪)电(🐌)影历(🖱)史参考(😲)文献之(zhī )下，当前许多政治(zhì )关(guān )联(lián )正在(🐇)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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