剧情简介
康(🌠)沃(👷)尔渔村的风景明(📼)信(xìn )片(🏽)田(🐌)园(yuán )诗(🔼)误导了(le )人们。虽(suī )然过去钓鱼是一(yī )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(😎)地人(🖲)，当地(🕔)人(🔸)的(de )生计因此受到(dào )威胁。史蒂文和马丁(dīng )(🚉)兄弟(dì )的关系也很紧(jǐn )张。马丁(dīng )是一个没(🚸)有(🖍)船(chuán )的渔夫，因(😱)为史蒂(🔊)文开始用它来(lái )为一(🔩)整(zhěng )天(🌚)的游客提(⏯)供(gòng )更赚钱的旅游。他们卖掉了(le )这(zhè )座家(jiā )庭别墅，现(xiàn )在看(🤸)来，最后一场战斗是和(hé )新主(🍄)人在(🥫)海(hǎi )边的(🧤)停车位(wèi )上展(⛳)开。然而，情况很快就失(shī )控了(le )，而(ér )不仅仅是因为车轮(lún )夹钳。 (🥊) Bait是一种黑(🈸)白，手工(gōng )制作，16毫米胶片制作的电影。许多关(guān )于鱼、网、龙虾、(😙)长靴、绳结(👌)和渔篮(lán )的(🔷)特写镜(💸)头让(🐞)人(🍽)想起了蒙太奇(qí )景点的理(👄)论(lùn )。对不(🔫)同(tóng )社(🔥)会阶(jiē )层(céng )的(⏳)描述(🚽)——可以说是(😳)阶(jiē )级关系(🚻)——也让人想(xiǎng )起了英国(guó )电影中的社会现实主(zhǔ )(🚩)义传(chuán )统。然(rán )而，最重(🔮)要的是，在影像中不(bú )同层次(cì )的(🖱)电影(yǐng )历(😲)史参考文献之下，当(🛌)前许(xǔ )(🕵)多政治关联正(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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