剧情简介
康沃(wò )尔(🍅)渔(🌠)村的(de )风(fēng )景(jǐng )明信片(piàn )田园诗误(🐌)导了人(🌰)们。虽(suī )(😘)然(🕟)过去钓(🔱)鱼(yú )是一(🤴)种养家糊口的方式，但如今(🔬)富有(yǒu )的伦(🥩)敦游客纷纷下(👋)山，取代(dài )了当地人(rén )，当(🚤)地人(⚫)的生计因(yīn )此受(shòu )到威胁(xié )。史蒂文和马丁兄弟的(🚉)关(guān )系也(yě )很紧(🛺)张。马丁(🥞)是一(😚)个没有(🙁)船的渔夫，因(yīn )(🥀)为史(shǐ )(🤯)蒂文(🐖)开始(shǐ )用它来(lái )为一整天(🚣)的游客提(tí )供更(gèng )赚钱的(de )旅(lǚ )游。他们卖掉了这(zhè )(🥎)座家庭别墅，现在(🐑)看来，最后(hòu )一场(chǎng )战(👓)斗(dòu )是(🙉)和(hé )新(⛓)主人(rén )在海边的停车位上展开。然而，情况很快就(jiù )失控了，而(🚴)不仅(jǐn )仅(jǐn )是因为车轮(🤘)夹钳。 (💔)Bait是一(💍)种黑白，手工制作，16毫米胶(jiāo )片制作的电影。许多(duō )关于鱼(🏒)、(🙎)网、龙(lóng )虾(xiā )、长靴、绳结和渔篮(lán )的特(tè )写镜头(👵)让人想起(🐞)了(le )蒙太奇景(🚲)点(diǎn )的(🔎)理论。对不(bú )同社会阶层(céng )的(🚡)描(miáo )(🌸)述——可以(yǐ )说是阶(👛)级关系——也让人(rén )(🔪)想(🐂)起了英国电(🧘)影中(zhōng )的社会(✖)现实主义传统。然而，最(zuì )重要的是，在(zài )影像(xiàng )中不同层次的电(🐌)影(yǐng )历(🖱)史参考文献之(zhī )下，当前许多政治(zhì )关联(lián )正在等待被发(🏗)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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