剧情简介
康沃(🕕)尔渔(yú )村的风(🆓)景明信(xìn )(🐽)片田园诗误导了人们。虽然过(🕸)去钓鱼是一种养(🎺)家糊(🎗)口的(de )方式(🐉)，但如今富有(🗼)的伦敦(dūn )游客纷纷下山，取(qǔ )代(❣)了当地(♑)人，当地人(rén )的生(shēng )计因此受(shòu )到(dào )威胁。史蒂(dì )文(🙍)和马丁(dīng )兄弟(dì )的关系也很紧(🛺)张。马丁是一(yī )(😚)个没(méi )有(yǒu )船(😻)的(🚸)渔(yú )夫，因(yīn )为史(shǐ )蒂(😱)文(wén )开始用它来为一整天的游客提(📯)供更赚钱的(🖲)旅游。他们卖(mài )掉了(le )这座家庭别墅，现(✋)在看(kàn )来，最后(hòu )一场战(👓)斗是(🙉)和(💪)新(xīn )主人在海边的停(tíng )(🤷)车位上展开(🤲)。然(rán )而，情况很(hěn )(🏯)快就(jiù )(🎋)失控了，而不(🧣)仅(jǐn )仅是因为车(chē )轮夹(jiá )钳(qián )。 Bait是一(yī )种(zhǒng )黑白(bái )，手工制作，16毫米胶片制(🌪)作的电影。许(🐩)多(💯)关(guān )于(🔈)鱼、网、龙虾、长靴、绳结(⏲)和渔篮的特写镜头(tóu )让(♌)人想起了蒙(🏃)太(tài )奇(qí )景(jǐng )点的(de )(🔎)理论(lùn )。对不同社会阶(💣)层的描述(📞)——可(kě )(🚽)以说是(🔲)阶级关系(xì )——也让人想起了(🛃)英(⏺)国电影中的(de )(❓)社(📬)会现实(shí )(💑)主义传(chuán )统。然(⛴)而(ér )，最重要(⏺)的(de )是(shì )，在(🈳)影像(🔬)中不同层次(cì )的电影历史参考文献之(🏡)下，当前(qián )许多政治关联正在(zài )等待被(bèi )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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