剧情简介
康沃尔(🍅)渔(yú )村的风景明(míng )(✒)信(xìn )片(piàn )田园诗(🏽)误导(🍩)了人们。虽然过(guò )(🕸)去钓鱼是一种(zhǒng )养家(🔧)糊口(kǒu )的(de )方式，但如(🍖)今富(🏴)有(yǒu )(🗼)的伦敦(💤)游客纷纷下(xià )山，取(qǔ )代了当地人(rén )，当地(🖲)人(rén )的(🐿)生计因此受到威胁(xié )。史蒂文和(hé )马丁(🔲)兄(xiōng )弟(dì )的关系(🚥)也很(hěn )紧(🛺)张。马(🎫)丁是一个没有(🙁)船的(de )渔夫，因为史蒂(😱)文开始(shǐ )用它来为一整(🧚)天的游客提供更赚(zuàn )钱的旅(🔢)游。他(tā )(🦗)们(men )卖掉了这(🥎)座(🥔)家(jiā )庭别(bié )墅，现在(🐑)看(🏂)来，最(🤸)后一场战(zhàn )(👓)斗(dòu )是和新主人在海(hǎi )边的停(🤷)车位上展开。然而(ér )，情(qíng )况很(hěn )快(kuài )就失(🥕)控了，而不仅仅(⚾)是因为车轮夹(jiá )钳(qián )(❕)。 Bait是(shì )一种黑白(bái )，手工(gōng )制作(zuò )，16毫米胶片制(🌪)作的电影。许多关于(🔈)鱼(🏒)、网、龙虾、长靴、绳(🤥)结和(📛)渔(yú )篮的特写镜头让人(💸)想起了蒙太奇景点的理论。对(👄)不同(tóng )社会(huì )(🔫)阶层的(🚡)描述—(⏳)—可以说是(🔲)阶级关系(xì )——也(yě )让人(🔪)想起了英(yīng )国(👩)电影中的社会现实主义传(chuán )(🚤)统。然而，最重要的是，在影像中不同层次的电影历(🖱)史(shǐ )参考(kǎo )文(🐅)献(xiàn )之下，当前许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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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