剧情简介
康(🈯)沃尔(ěr )(🍅)渔村的(de )风(fēng )景明信片田园(📒)诗误导了(🔼)人们。虽然过去钓(🔱)鱼(🕰)是一种养(🎺)家糊口的(🆖)方式(🐉)，但如今富有的(de )伦敦(dūn )游客纷纷下(👋)山(⏬)，取代了当地人，当地人的(🐿)生(shēng )计(🔸)因此(🎩)受到威(wēi )胁。史(shǐ )蒂文(wén )和马丁兄弟的关系(xì )(🚥)也很紧张。马丁是一(yī )个没(méi )有船(😻)的(de )渔夫(🚑)，因为(wéi )史蒂文开始用它(tā )来(🚢)为(🌙)一整(zhěng )天的(de )游客提供(🚨)更赚钱的(de )旅游(❔)。他们卖掉了这座(🥔)家庭别(🙂)墅，现(✋)在(zài )看(kàn )来(🙌)，最后一场(㊙)战斗是和新主人在海(hǎi )边的停车位(🧤)上展开(🤲)。然而，情况很快就(jiù )失控(🕐)了，而不仅仅(jǐn )是因为车轮夹(jiá )钳(qián )(❕)。 (💹) Bait是一种黑白(bái )，手(🈸)工制(zhì )作，16毫(háo )米胶片制作的电影。许多关(guān )于(yú )鱼、网、龙虾(🈺)、长靴、绳结(jié )和渔篮的特写(xiě )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(de )(🚡)描述——可以(🎐)说(🍁)是阶(👛)级关系——也(yě )让人想起了英国电影(💅)中(🤼)的(de )社会(huì )现实(💑)主(zhǔ )义传(🚤)统。然而，最重(chóng )要的(🧥)是，在影像中不同层次的电影历史(💛)参考文献之下，当(dāng )前(🙅)许(xǔ )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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