剧情简介
康沃(wò )尔渔村(👷)的风景明(✒)信(xìn )片(🥇)田园(📒)诗误导了人(rén )们。虽然过(guò )去(🛍)钓鱼是一种养家糊(hú )口的方式，但如(🍖)今富有(yǒu )的伦敦(💤)游(yóu )客(kè )纷纷下(👋)山，取代(dài )了当(dāng )地人(rén )，当地人的生(🕔)计因此受到威胁(xié )。史蒂(dì )文和马丁兄弟的关系也很(🕌)紧(jǐn )张。马丁(🥞)是(shì )一(yī )个没(méi )有船的渔夫，因为史(🤯)蒂文开始(shǐ )(🔊)用(yòng )它来为一整天的(de )游客提供更赚钱(😞)的(🖲)旅游。他们(🌑)卖(🎛)掉了这座家庭别(🙂)墅，现在看来，最后一场战(👓)斗是和(hé )(💪)新(xīn )主人在海边(⛏)的(🥫)停(🤷)车位上展开(🤲)。然而，情况很快就失控(🕐)了，而不仅仅是因为车轮(🤘)夹钳。 Bait是一种黑白，手工制作(zuò )，16毫米胶片制作的电(diàn )影。许多关于鱼(yú )、(🙎)网(wǎng )、龙(lóng )虾、(🤔)长靴、绳(shéng )结和渔(🔤)篮的特写镜头(tóu )(👵)让人(rén )想起了蒙太(tài )奇景点的理论(lùn )(🔙)。对不(🐖)同社(shè )会阶(💣)层的(🚡)描述——可以说是阶(jiē )级关(😳)系——也让人(rén )想起(👚)了英国(guó )电(diàn )(🧘)影(yǐng )中的(❓)社(shè )(📬)会(huì )现实(shí )主义传(chuán )统。然(rán )而(🏸)，最重(chóng )要(⏺)的是，在影像中不同层(céng )(💕)次的电(🐌)影历史参考文(🐅)献之(zhī )下，当前许多(🛌)政(🍾)治关联(🚓)正在等待被发(fā )(🏗)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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