剧情简介
康沃尔渔村的风景(⛲)明信(🐽)片田园诗误(🐌)导(dǎo )了人(rén )(🌰)们。虽然(rán )(🕟)过去钓鱼(yú )是(shì )一种养家(🔧)糊口的方式，但如今富有的伦敦游(😧)客(kè )纷纷下(xià )山，取代了(le )当地人(rén )，当(🚤)地人(rén )的(🐿)生计因此受(🤷)到(🗄)威胁。史蒂文和马丁兄弟的关系也很紧张。马丁是一个(gè )没有船的渔夫(🚑)，因为史蒂文(wén )开始用(yòng )它(tā )(⏺)来为(🌙)一整天的游客提供(gòng )(🚨)更赚钱的(de )旅游(❔)。他(tā )们卖掉了(le )这(🥎)座(zuò )家庭别墅，现在看来，最(🤸)后一场战斗是和新主人在(🈴)海边的(de )(🥫)停(tíng )车位(🧤)上(shàng )展开。然(⛳)而，情况很(hěn )(🏯)快(🤳)就失(🥕)控了，而不(bú )仅仅是因为(👣)车轮夹钳。 Bait是(shì )一种黑(hēi )(🐾)白，手工制(zhì )作，16毫米胶(jiāo )(🤷)片制作的电(diàn )影。许多(duō )(💯)关(guān )于鱼、(🙎)网、龙(lóng )虾(xiā )、长(📧)靴、绳结和渔篮(lán )的特(tè )写镜头让(ràng )人想起了(🍽)蒙(méng )太(🔞)奇景点的理论。对(duì )不同社会阶层的(🚡)描述——(🏓)可以说是阶(👛)级关系——也(yě )让(ràng )人想起了(🛃)英国电影(yǐng )(💅)中的(de )社(📬)会现实(shí )主义(yì )传统(tǒng )。然而，最(💁)重要的是，在影(🐈)像(xiàng )中不同层(💕)次的(de )电(diàn )影历史参考文(🐅)献(xiàn )之(zhī )下，当(🈸)前(🙅)许多政治关(🎞)联(🚓)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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