剧情简介
康沃尔(🍅)渔村的风(fēng )景明信片(🥇)田园诗误导了人们。虽然过去(🛍)钓鱼(yú )是一种养家糊口的方式(🐉)，但(🌰)如今(jīn )富有(yǒu )的伦敦游客纷(fēn )纷下山，取(🎏)代(dài )(❣)了当(🏇)地人(📼)，当地人的(de )生计因(👑)此受(shòu )到威(🛍)胁。史蒂文和马丁(dīng )兄(xiōng )弟的(de )关系(xì )也很(hěn )(🕌)紧张。马(mǎ )丁是一个没有船的渔夫，因为史蒂(😱)文开(🤷)始用(yòng )(💞)它来为一(📎)整天的游客提供更赚钱的旅(lǚ )游。他们卖掉了这座家庭(tíng )别(🙂)墅(shù )，现在看来，最后一场战(👓)斗(dòu )是和新主人在(zài )海边的停车位上(shàng )展开(kāi )(🤲)。然(rán )而，情(👺)况很快(🤳)就失控了(le )，而不仅仅是因(yīn )(🌮)为车(chē )轮夹钳。 (💹) (💔)Bait是(shì )一种黑白，手工制作，16毫(háo )米(mǐ )胶片制作的电影。许多关(guān )于鱼、网、龙虾、(🤔)长靴、绳结(⏲)和(hé )渔(🔤)篮(👌)的特(📸)写(🥤)镜头让人(💸)想起了蒙太奇景(jǐng )点(diǎn )的理论。对不(🐖)同社会(🔫)阶层的(de )描述(shù )——可以(🎐)说是阶(👛)级(jí )(🕕)关系(👗)——也让人想起了英(yīng )国电影(💅)中(🤼)的社会(✖)现实主义(yì )传统(tǒng )。然(rán )(⛴)而(🏸)，最重要的是，在影像(xiàng )中不(🔍)同层(céng )次(cì )(🈂)的电(🐌)影历(🖱)史(shǐ )参考(😲)文献之下(xià )，当前许多(duō )(🛌)政(zhèng )治关(guān )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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