剧情简介
康沃尔渔村(👷)的风景明信片(🥇)田园诗误导了人们(🃏)。虽(suī )然过去钓鱼是一(🤴)种养家糊口(🎹)的方式，但(🌰)如今富有的伦敦(💤)游客纷(fēn )纷下山，取代了当(dāng )(🏇)地人，当(dāng )(🚤)地人的生计因此受到威(wēi )(🛍)胁。史蒂文和马丁兄(🥄)弟的(de )关系(xì )(🚥)也很(🕌)紧张。马(mǎ )丁是一个没(méi )有船(chuán )的渔夫，因为(🕕)史蒂(dì )文(wén )开始用它来为一(yī )整天(tiān )的游(yóu )客提供更赚(⏯)钱的旅(lǚ )游(❔)。他们卖掉了(le )(㊗)这座(🥔)家庭别墅，现在看来，最后一(🙄)场战(👓)斗是和新主(zhǔ )人在(🈴)海边的(de )停车位上展开(kāi )。然而(😍)，情况很快就失(shī )控了(🐀)，而(🚴)不(bú )仅仅是(shì )(🕯)因为车轮(lún )夹钳(❕)。 (💔)Bait是一种黑白，手工制(zhì )作，16毫(háo )(👪)米胶片制作的(🌼)电影。许多关(guān )于鱼、网、龙虾(🈺)、(🤔)长靴、绳结和渔篮的特(tè )写镜头让(♌)人想(xiǎng )起(qǐ )了蒙(🏃)太(tài )(🔞)奇景(jǐng )(🚲)点的理论。对不(🐖)同社(shè )会阶(jiē )层的描述—(⏳)—可以(🎐)说是(🔲)阶级关系——也让人(🔪)想(xiǎng )(🐂)起了英(yīng )国(👩)电影(yǐng )中(🤼)的社会现实主(zhǔ )义传统。然而，最重要的是，在(zài )影像中不(bú )同层(💕)次的(de )电影历史参考文(🐅)献(xiàn )(⛅)之下，当(dāng )前许(xǔ )多政(🍾)治关联正在等待被发现。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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