剧情简介
康沃(🕕)尔渔(yú )村的风景(⛲)明信片田(tián )园诗(shī )误(wù )导了(🔼)人们。虽然过去钓鱼是一种养家糊口的方式(🐉)，但如(🍖)今富(fù )(🏴)有的伦(🥩)敦(dūn )游客纷纷下(👋)山，取(qǔ )代了当地(dì )人，当地人的生计(jì )(🔸)因此受到(🗄)威胁。史蒂文和(💆)马丁兄弟的关(guān )系(🚥)也很紧张。马丁(dīng )是一个(🍮)没有船(chuán )的渔夫(fū )，因(yīn )为(wéi )(🕕)史(🤯)蒂(dì )文(wén )开始(shǐ )用它来为(🌙)一(📎)整天的游客提供更(🛑)赚(zuàn )钱的旅游。他们卖掉(🌊)了这座家庭别墅(📙)，现在看来(🙌)，最后(hòu )(🌞)一场战(zhàn )斗是和新主人(⏰)在海(hǎi )边的停车(chē )位上(shàng )展开。然而，情(qíng )况(⛳)很快就失控(🕐)了，而(🚴)不(🧣)仅(🤖)仅(jǐn )是因为车(chē )轮夹钳。 Bait是一种黑白，手工制作，16毫米胶片制作的电(diàn )影(yǐng )。许多关于(🔈)鱼、网(💿)、龙(🐡)虾、长靴、绳(shéng )(🤥)结和(hé )渔(yú )篮(👌)的特(tè )写镜头(👵)让人想起(🐞)了(le )(🍽)蒙太奇景点的理论(🔙)。对不同社会阶层的描述(shù )——(🏓)可以(yǐ )说是阶(jiē )级(🕕)关系——也让(ràng )人想起了英国电(diàn )影中(🤼)的社会(huì )现实主义(yì )传统。然(rán )而，最重要的(🧥)是，在影(yǐng )像中不同(🌲)层(💕)次的(de )电(🐌)影历(lì )史参考文献之(zhī )下，当前许(🛃)多政治关联正(📯)在等(děng )待(👆)被发现(xiàn )。 (🐣)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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