剧情简介
康沃(🕕)尔渔村(👷)的(de )风(🆓)景明信片田园诗误导(dǎo )了人们。虽然过去(🛍)钓鱼是(shì )(🤢)一(yī )种养家(jiā )糊口(🎹)的方式，但(🌰)如今富有(🗼)的(de )伦敦游(😧)客纷纷下山，取代了当地人，当地人的生计因此(cǐ )(🎩)受到威胁。史蒂(dì )文和(hé )马丁兄弟的(de )关系(xì )也很紧张。马丁是(shì )一个没有船(😻)的(🚸)渔夫，因为史(🤯)蒂文开始用它来为一整天(tiān )(🚣)的(🔩)游客提供更赚(⏯)钱的(🖲)旅(lǚ )游。他们卖掉了这座家庭(tíng )别墅，现(xiàn )在看(🏂)来，最后一场战斗是和新主人在海边的停车位上(shàng )展开(🤲)。然而，情况很(hěn )快就(🎋)失控(🕐)了，而不仅仅(jǐn )是因为车轮(lún )夹(🈁)钳(qián )。 Bait是一种(🚗)黑白，手工制作，16毫(👪)米(🥋)胶片(🃏)制(🌪)作的(de )电影。许多关(😝)于鱼(yú )、网、龙虾、长(📧)靴、绳结和(📛)渔篮的特写镜头让人想(xiǎng )起(🐞)了蒙(méng )太(🔞)奇景点的理论。对(duì )(👄)不(🐖)同社(🖍)会(huì )阶层的描述——可(kě )以说(shuō )是阶级关(😳)系—(🎦)—也让人(rén )想(xiǎng )起了英(yīng )国电影(💅)中(🤼)的(de )社会现实(shí )主义传(chuán )统(🚩)。然(⛴)而，最重(🈺)要(yào )的是(shì )，在影(yǐng )像中(zhōng )不同层次(cì )的电影历史(shǐ )参考文献(⛅)之(🏡)下(✒)，当(🈸)前(qián )许(🛃)多(duō )政(🍾)治关(🎞)联正(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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