剧情简介
康沃(🕕)尔渔村的风景明信片(piàn )田园诗误(wù )导(dǎo )(🍩)了人(🌰)们。虽然(rán )过去(qù )钓鱼是(🤢)一种(🍥)养家糊口(🎹)的方(fāng )式，但如今富有的伦(lún )敦(💤)游(yóu )(😧)客纷(📿)纷下山，取(qǔ )代(dài )了(🌗)当(🏇)地(dì )人，当(dāng )地(dì )(🖲)人的生计因(yīn )此(🎩)受到威胁。史(shǐ )蒂文和马丁兄弟的关(guān )(🏐)系(xì )也(🐖)很紧张。马丁是一个没有船(chuán )的渔夫(fū )，因为史蒂文开(kāi )(🤷)始(shǐ )用它(⏺)来为一(📎)整天的(de )游客提(tí )供更赚(⏯)钱的旅(🔢)游。他(tā )们(men )卖掉了(㊗)这座家庭别墅，现(xiàn )在看来，最后一场战(👓)斗是和(💪)新(⛓)主人在海边的停(tíng )车位上(shàng )展开(🤲)。然而，情况很快就(🎋)失控了，而(ér )不(🧣)仅(jǐn )仅(⚾)是因为车轮(lún )夹钳(qián )。 Bait是一(💍)种(🚗)黑白，手工制(zhì )(🏻)作(zuò )，16毫(👪)米胶片制作的电影。许(xǔ )多关于(yú )鱼、(🙎)网(wǎng )、龙虾、长靴、绳结(⏲)和(📛)渔篮的特写镜头(tóu )让人想起了(🍽)蒙(méng )太奇景点的理(lǐ )论。对不(bú )同社(🖍)会阶层的描述—(⏳)—(🏓)可以说是阶级关系——也让人想(xiǎng )起了英国电影(yǐng )中的(❓)社会现实主义(yì )传统。然而，最重要(⏺)的(🧥)是，在影像中(zhōng )(🍯)不(bú )同(🌲)层(💕)次的电影(yǐng )历史参(cān )考文献之(🏡)下(xià )，当前许多政治(🕵)关联(lián )正在等(děng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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