剧情简介
康(🈯)沃尔(🍅)渔村(👷)的风(fēng )景明(míng )信片田园诗(shī )误导了人们。虽然过去钓鱼(yú )是(🤢)一种养(yǎng )家糊口的方式，但如今(jīn )富(🏴)有(yǒu )的伦敦游(😧)客纷纷(fēn )下山，取代了当地人(rén )，当(🚤)地人的生计(🔸)因(👑)此受到(🗄)威胁。史蒂文(🙍)和马丁(dīng )兄弟的关系(🚥)也很紧张。马(🎫)丁是一个没有船(chuán )的渔夫，因为史蒂文开始用它(tā )(⏺)来为一整(zhěng )天(tiān )(🚣)的游(yóu )客(🌚)提供(gòng )更赚钱(qián )的(de )旅(lǚ )游。他(tā )们卖(🎛)掉了这(zhè )座家(jiā )庭别墅，现在看来，最(🤸)后一(yī )场战(zhàn )斗(🙀)是和新主(zhǔ )人在海边的停(🤷)车位(🧤)上展开。然而，情况(⛳)很(🏯)快就失(🥕)控了(le )，而不仅仅是因为(wéi )(👣)车(chē )轮(🤘)夹钳。 (💔)Bait是一(💍)种黑白，手工制作，16毫(háo )米胶片制作的电影(💹)。许多关于鱼(yú )、网、龙虾(🈺)、长靴、绳结和(📛)渔篮的特写(xiě )镜头(tóu )让人(rén )想起了(🍽)蒙太奇景点的(🔎)理(lǐ )(🌂)论(lùn )。对(duì )不同社(🖍)会阶(💣)层的描述——可以(🎐)说(🍁)是阶级关系—(🎦)—也让人想(xiǎng )(🐂)起了英国电影中(zhōng )的社(shè )会现实主义传统。然(rán )(⛴)而，最重要的(🧥)是(shì )(🔮)，在影像中不同层次的电影(🐱)历史参考文献之下，当前许多(duō )政(🍾)治(🕵)关联正在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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