剧情简介
康(🌠)沃尔渔村的风景明信(xìn )片(piàn )田园诗误导了人们。虽然过(🕰)去钓鱼(🍥)是(shì )一(🔧)种养家糊口的方(fāng )式(🍖)，但如(rú )(🗼)今富有的伦敦游客纷纷下山(❣)，取代了(📼)当地人(rén )，当地人的(de )生(shēng )计因此受(🎡)到威胁。史蒂(✳)文和马丁(🚉)兄弟(🚥)的关系也(yě )很紧(🎫)张(zhāng )(🥞)。马丁是一个没(méi )有船(🚑)的(de )渔夫，因为史蒂文(💞)开(kāi )始用它来为(wéi )一整天(tiān )的游客提供更赚钱的旅游。他们(㊗)卖掉了这座家(📙)庭别墅，现在(🤠)看来，最后一场(🙉)战斗(dòu )是和新主人在海边(biān )的停车(🚻)位(wèi )上(🕙)展开。然而，情况很快就失控(🚴)了，而不(bú )仅仅是因为(wéi )车(❕)轮夹钳(qián )。 Bait是一(yī )种(zhǒng )(😊)黑(🈸)白(➡)，手工制作，16毫(háo )米胶(jiāo )片制(zhì )作的电影。许多关于鱼、网(wǎng )、龙虾(🔍)、长(🤥)靴、(📛)绳(shéng )结(jié )和(hé )(💏)渔篮的特写(♌)镜头(tóu )让人想(xiǎng )起(qǐ )了(le )蒙太(tài )奇景点的理论(lùn )。对不同社会阶层的描述——可(🔲)以(yǐ )说是(😳)阶级关系—(🍺)—(🔪)也让人想起(qǐ )了(🧘)英(yīng )国电影中(✖)的社(💑)会现实主(zhǔ )义(🍹)传统。然而，最重要的是，在影像中不同层次(cì )的电影历史参考文(✒)献之下(🙅)，当(🛌)前(🍾)许(🕵)多(duō )政治(zhì )关联正在等待被发(fā )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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