剧情简介
康沃尔(🍅)渔村的风(🆓)景明信片田园诗误导了(🔼)人(🌰)们。虽(suī )然(🕟)过(🕸)去(qù )钓(diào )(🔱)鱼(🕰)是一种养家糊口(🎹)的(🆖)方式，但(dàn )(🌰)如今富有的伦(lún )(🥩)敦游客纷纷下(👋)山，取代了(🌗)当(🏇)地人，当地人的(de )(🐿)生计因(👑)此(cǐ )受(shòu )到威胁。史(🕯)蒂文和(💆)马丁兄弟的关(🏐)系也(🐖)很紧(jǐn )张。马丁是一个没有船的(🚸)渔夫，因为(wéi )史(shǐ )蒂文开始用它来为(🌙)一(yī )整天(tiān )的游(🥁)客提(tí )供(gòng )更赚钱的旅游。他们(men )(🌑)卖掉了这(🥎)座家庭别墅，现在看(kàn )来，最后一场战斗(🙀)是和新主人在(zài )海边的(de )停车(chē )位上展(zhǎn )开(kāi )(🤲)。然而，情(qíng )况很快就失(🥕)控了(le )，而(ér )不仅仅(⚾)是因(🌮)为车轮夹(jiá )钳(qián )(❕)。 Bait是一种(zhǒng )黑白，手(🈸)工制作，16毫米胶片制作的电(diàn )影。许(🐩)多(💯)关于(🔈)鱼、网(wǎng )、龙(lóng )(🐡)虾(🈺)、长靴、绳结和(hé )渔篮的特写镜(jìng )头让(♌)人想起了(🍽)蒙太奇景点(diǎn )的理论。对不同社(shè )会(huì )阶(jiē )层的描(miáo )(🌸)述(shù )—(⏳)—可以说是阶级关系——也让人(rén )(🔪)想(xiǎng )起了英国电影中的社会现实主义传统。然而，最重(🈺)要的是(🔮)，在影像(xiàng )中不同层次(cì )的电影历史参考(kǎo )文(wén )献之下，当前(🙅)许多政治关联正(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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