剧情简介
康沃(wò )(🕕)尔渔村的风景明信片田园诗误导了(🔼)人(rén )们(🃏)。虽(😘)然(🕟)过去钓鱼(yú )是一种养(yǎng )(🎺)家糊口的方式，但如今(🔬)富有的伦(lún )敦游客纷(fēn )(📿)纷(fēn )下(xià )(👋)山，取代了当(dāng )地人(📼)，当地(dì )人的生计因此(🎩)受到威(🛍)胁(🎡)。史(shǐ )蒂文和马丁兄弟的关系也很紧张。马丁是(shì )一个(gè )(🍮)没有船(chuán )(😻)的(de )渔夫(🚑)，因为史蒂(😱)文开始(🔊)用它来(lái )为一整天的游客(kè )提供更(🛑)赚(⏯)钱的旅游(yóu )。他们卖掉了(㊗)这座家庭别墅，现(xiàn )在看来(🙌)，最后一(🙄)场战斗(dòu )是和新(xīn )主人在海边(⛏)的停车位上展开(kāi )。然而，情况(kuàng )很(🏯)快就失控了，而不仅仅是因(🌮)为车(chē )轮夹(🈁)钳(qián )。 Bait是一种(🚗)黑白，手(shǒu )工制作，16毫(háo )米胶片制作(zuò )的(de )电影。许多关(guān )于鱼、网、龙虾、长靴、绳(🤥)结和(📛)渔(yú )篮的特(📸)写镜(jìng )头让人想起了蒙太奇(qí )景点的(🔎)理论。对不同社会(huì )阶(jiē )层(🔥)的描述——可以说是(shì )阶级关系——(📤)也(yě )让人想起了英国(guó )电影中的(de )社(shè )(📬)会(✖)现实主义(😉)传统。然而(ér )，最重要(yào )的是，在影像中(zhōng )不同层次的电影(🐱)历史(shǐ )参考文(wén )(🐅)献之(🏡)下(✒)，当(🈸)前许(xǔ )(🛃)多政(🍾)治关联(lián )正(📯)在等待(dài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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