剧情简介
康(🈯)沃尔渔(🌠)村(cūn )的(🔨)风景(⛲)明信片田园(yuán )(📒)诗(🏽)误(wù )导了人(rén )们。虽然过去(🛍)钓鱼是(🤢)一种养(yǎng )家(jiā )糊口的方式(shì )，但(🌰)如今富有的伦(lún )敦游客纷纷下(xià )山(⏬)，取代(❣)了当(dāng )地人，当地(dì )人的生计因(👑)此受到(🗄)威(🛍)胁。史蒂(dì )文和(💆)马丁兄(🥄)弟的关系也(yě )很(hěn )紧张。马丁是(shì )一个没有(yǒu )船(chuán )的渔夫，因为史蒂文开始(shǐ )用它来为(wéi )一整(🧚)天(tiān )的游客(🌚)提供更赚钱的旅游(❔)。他们卖掉了这座家庭别(bié )(🙂)墅(📙)，现在看来，最后一场战斗是(shì )和(hé )新(⛓)主人在海(hǎi )边的停(tíng )车位(🧤)上展开。然(rán )而(😍)，情况很快(kuài )就失控了(le )(🐀)，而不仅仅是因为车轮夹(🈁)钳(qián )。 Bait是(🛎)一(💍)种黑白，手工制(zhì )作(🐛)，16毫米胶片制作的电影(💹)。许多(duō )关于鱼、网、龙虾(xiā )、(🤔)长靴、绳结和渔篮的特写镜(🔷)头(tóu )(👵)让(ràng )人(💸)想起了蒙太奇景(jǐng )(🚲)点的理论。对不同社(🖍)会阶层(🔥)的描述——可以(yǐ )(🎐)说是阶(jiē )级关系(xì )——也让人想起(👚)了英国电影(yǐng )(💅)中(🤼)的社会现实主义传(chuán )(🚤)统(tǒng )。然而，最重要的(🧥)是，在影像(🔬)中不同(tóng )(🌲)层次的电(diàn )影历史参考(kǎo )文献之下，当前许(🛃)多政治关(guān )联正在等待(👆)被发现(xiàn )(🍉)。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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