剧情简介
康(🈯)沃尔渔村的风景(⛲)明信片田园诗误导(🍩)了(🔼)人(rén )们。虽然过(🕸)去(🛍)钓鱼是(shì )一(yī )种(🍥)养家(jiā )糊(🎗)口的方式，但如(rú )今(🔬)富有的(🐮)伦(lún )敦游客(kè )纷纷下(xià )山，取(qǔ )代了当地(dì )人(rén )(📼)，当(dāng )地人的生计因(👑)此受到威胁。史蒂(dì )文和(💆)马(✳)丁(🔲)兄弟的(🚉)关系(xì )也(yě )很紧张(zhāng )。马丁是(shì )一个没(✖)有船的渔夫，因(🥀)为(wéi )史蒂文开始(🔊)用它来(lái )(🚢)为一整(zhěng )天的游客提供更赚钱的旅(🔢)游。他们卖(mài )掉了(le )这(zhè )座家庭别墅(shù )，现(xiàn )在(🐑)看来(lái )，最后(hòu )一场战斗是和新主人在海边(biān )(⛏)的停(🤷)车位上展开。然而，情况很(🏯)快就失控了，而不仅仅是因为车轮(🤘)夹钳。 Bait是一(yī )种黑白，手工制作，16毫(háo )米胶片制作的电(diàn )(🚶)影。许多关于鱼(🏒)、(🙎)网、龙虾、长靴、绳结和渔篮(👌)的特(tè )写镜头让人想(🥅)起了蒙太(tài )奇景点的理论(lùn )。对不同社会阶层的描述——可(kě )(🚽)以(yǐ )说是阶级关系(👗)—(🎦)—(📤)也让人想起了英(yīng )国电影中的社(📬)会(huì )现(xiàn )实(💑)主义传统。然(rán )(⛴)而(ér )，最(zuì )重要(⏺)的是(shì )，在影(🐈)像(🔬)中不同层次的电影(🐱)历(🖱)史参考文(🐅)献之(zhī )(🏡)下(xià )，当前许多政治关联(🚓)正在等待被(bèi )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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