剧情简介
康沃尔渔村(cūn )的风景明信(🐽)片田园诗误导(dǎo )了人(rén )们。虽然(rán )过去(🛍)钓鱼是一种养家(🔧)糊口的方式(shì )，但如(rú )今(jīn )富(🏴)有(yǒu )的伦敦游(yóu )客纷纷(fēn )下山，取(qǔ )代了当地人，当地人的生计因(👑)此受到(dào )(🗄)威胁(xié )。史蒂文和马(✳)丁兄弟(🛹)的关系(xì )也很紧(jǐn )(🛺)张(zhāng )。马丁是一个没有船的渔夫(fū )，因(🥀)为史(shǐ )蒂文开始用它来为一(📎)整天(🚣)的(🔩)游客提供更(🛑)赚(⏯)钱的(🖲)旅游。他们卖掉(diào )了(㊗)这座家庭别墅，现在看来，最后一场战斗是和(hé )(💪)新(xīn )主(zhǔ )(🎾)人在(zài )海(hǎi )边的停车(chē )位上展开(kāi )。然(rán )(⛳)而，情(qíng )况很快(🤳)就失(🥕)控(kòng )了，而(🚴)不仅仅(⚾)是因为车(🗳)轮夹钳(❕)。 (💔)Bait是一种黑白，手工制(zhì )作，16毫(háo )(👪)米(🥋)胶片制(🌪)作的电影。许多关于鱼、网、龙虾、(🤔)长靴(xuē )(🔍)、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(🖍)会阶层的描述(shù )—(⏳)—可以说是阶级关系——也让(ràng )人(🔪)想起了英国(👩)电影中的社(shè )会现实主(zhǔ )义(yì )传(chuán )统(tǒng )(🚩)。然而(🏸)，最重要的是，在影像中(🍯)不(🔍)同层次的(🚪)电(🐌)影历(🖱)史参(cān )考(kǎo )文献之下，当(dāng )前(🙅)许多政(zhèng )治(🕵)关联正(📯)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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