剧情简介
康沃尔(🍅)渔村的(🔨)风景明信(🐽)片田园诗误导了人(🌰)们。虽然过去钓鱼(yú )是(shì )一(yī )(🤴)种养家糊口的方式，但如今富有的伦敦游客纷纷下山(shān )，取代了当(dāng )(🏇)地人(rén )，当地(🖲)人的生(shēng )计因此受到威(wēi )胁。史(🕯)蒂文和马丁(🔲)兄弟的(🚉)关系也很紧张(📞)。马丁是一个没有船的渔夫，因为史(shǐ )蒂(dì )文开(kāi )始用它(⏺)来(lái )为一整天(🚣)的游客提供更(🛑)赚(⏯)钱的(🖲)旅游。他(🦗)们(🌑)卖掉了(㊗)这座家庭(tíng )别墅，现在看来，最(zuì )后(hòu )一(yī )场战斗是和新主人在(🈴)海(🍄)边的(de )停车位上展(🚻)开。然(⛳)而，情况(kuàng )很快就失控了，而不仅(🤖)仅是因为车轮夹钳。 Bait是一种(zhǒng )(🚗)黑白，手工(gōng )制作，16毫(👪)米胶片(🃏)制作的(de )电影(💹)。许(xǔ )多关(😝)于鱼(🏒)、网(wǎng )、(🎥)龙虾、长靴、绳(🤥)结(jié )和(hé )渔(🔤)篮的特写镜头(tóu )让人(💸)想(xiǎng )起了蒙太(tài )奇景点的理论。对(👄)不(🐖)同(tóng )社会阶(jiē )层的描(🌸)述——可(kě )以说(shuō )(🍁)是阶级关系—(🎦)—也让(ràng )人想(xiǎng )起了(🛃)英(yīng )国(guó )电影(💅)中的社会现实主义传统。然而(ér )，最重要的是(🔮)，在影(yǐng )(🐈)像中(🍯)不同层次(🈂)的电影历史参考文献之下(xià )(✒)，当(🈸)前许多政治关联正(📯)在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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