剧情简介
康沃(wò )尔(🍅)渔(🌠)村的风景明信(🐽)片(piàn )(🥇)田园诗(🏽)误(🐌)导(dǎo )了(🔼)人们(men )(🃏)。虽然过(guò )去钓(🔱)鱼是(shì )一种(🍥)养家糊口的(de )方式，但(🌰)如今富有(yǒu )的(de )伦敦游(😧)客(🎾)纷纷(🌫)下(xià )山，取代了(🌗)当(dāng )(🏇)地人，当地人的生(shēng )计因(yīn )此受到威胁。史(shǐ )蒂文和马丁兄弟(🛹)的(de )关系也(🐖)很紧(jǐn )(🛺)张(📞)。马丁是一(😚)个没有船的渔夫，因(🥀)为史蒂文(wén )开始用它来为一整天(tiān )的游客(kè )提供更赚钱的旅(🔢)游。他们卖掉(🌊)了这座家庭别墅，现在(🐑)看(kàn )来，最(zuì )后一场战斗是和新主人(⏰)在海边(biān )的(de )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(chē )轮(🤘)夹钳(❕)。 Bait是(shì )一(💍)种黑白，手工制作，16毫米胶片制作(💅)的电影。许(xǔ )多关(😝)于鱼、网、龙虾、长靴(🔍)、绳(shéng )结和(hé )(📛)渔(yú )篮的特写(xiě )镜(🔷)头让人(💸)想起了(🍽)蒙太奇(🏴)景点的理论。对不(🐖)同(🆙)社会阶层的描述——可以(yǐ )说(shuō )是阶级关(guān )系——也让人想起了英国电影中(zhōng )的社会现实(💑)主(zhǔ )义传统(🚩)。然而，最重要的(de )是(🔮)，在(zài )影像中(🍯)不(bú )同(tóng )层次的电(🐌)影历史参考(kǎo )文献(⛅)之下(xià )，当前许(🛃)多政治(zhì )关(guān )联(lián )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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