剧情简介
康(kāng )(🈯)沃尔渔(🌠)村的风景(jǐng )明信片田(tián )园(yuán )诗误导了人们(men )。虽然过去(qù )钓鱼(yú )是一(yī )种养家糊口的(🆖)方(fāng )式，但如今富有的(de )伦敦游(😧)客纷纷下山(shān )，取代了(le )当(🏇)地人，当(dāng )地人(⚫)的生(shēng )计因此受到威胁。史蒂文和(hé )马丁兄弟的关系也很紧(🛺)张(zhāng )。马丁是一个没(✖)有船的渔夫，因为(🕕)史蒂文开(🤷)始用它来为一整天(🚣)的游(🥁)客提供(gòng )更赚钱(qián )的旅(lǚ )游。他们(🌑)卖掉了这座家庭别墅(shù )(📙)，现在看来，最后一场(chǎng )(㊙)战斗(🙀)是和新主人在海边的停(🤷)车(chē )(👃)位上(shàng )展(zhǎn )开。然而，情况(kuàng )很快就失控了，而(🚴)不仅(🤖)仅是因(🌮)为车(chē )轮夹(jiá )钳。 (💹) Bait是一(yī )种黑(hēi )白(🦇)，手工制作，16毫(👪)米胶片(🃏)制作的电(diàn )影。许多关于鱼、网、龙虾(xiā )(🈺)、长靴(🔍)、绳(🤥)结和渔篮的特(📸)写镜头(👵)让人想起了蒙(méng )太奇景点的(de )理(lǐ )论。对(👄)不(bú )同(🆙)社会(huì )阶层的(de )描述(📞)——可以说是(shì )阶(jiē )(👛)级关系(👗)——也让(🍺)人想起了英国电(diàn )影(💅)中的(de )社(shè )会现(xiàn )实主义传统。然(⛴)而，最重(🈺)要(⏺)的是(🔮)，在影像中不(bú )同层次的电影历史(shǐ )参考文(🐅)献(⛅)之下，当(dāng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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