剧情简介
康沃尔渔(yú )村的风景(⛲)明信片田园诗(shī )误导了人(rén )们。虽然过去钓鱼(yú )是一种(🍥)养(🎺)家糊口(kǒu )的(de )方式，但如(🍖)今富有的伦敦游(😧)客纷纷(fēn )下山，取代(dài )了当(🏇)地人，当(🚤)地人的(de )生(shēng )计(jì )因此受到威(🛍)胁。史(🕯)蒂文和马丁兄弟(dì )的关系也很紧张。马(mǎ )丁是(🗑)一个没有船的渔夫(🚑)，因为(wéi )史(shǐ )蒂(😱)文开始用它来为一(📎)整(🧚)天的游客(🌚)提供更赚钱的(de )旅游。他们卖(🎛)掉(diào )(🌊)了这座家(💻)庭别墅，现在(🐑)看来，最后一场战(👓)斗是和新主(🎾)人(rén )在海(hǎi )边(biān )的停车位上展(zhǎn )开。然而，情况很快就失控(kòng )了，而不仅仅是(shì )(🕯)因为(👣)车轮(lún )夹钳。 Bait是一种(🚗)黑白(🦇)，手工制作，16毫(háo )(👪)米胶(🤷)片制(zhì )作的电影。许(xǔ )多关于(yú )鱼、网(wǎng )、龙虾(🈺)、长(zhǎng )靴、绳结和(📛)渔篮的特(tè )(📸)写(xiě )(🥤)镜头让人(💸)想起(qǐ )了蒙太奇景点的理论(lùn )。对不(bú )同社会阶层(🔥)的描(miáo )(🌸)述——可以说是阶(jiē )级关系——也让(ràng )(🍺)人想起了英(⏺)国(guó )电影(yǐng )(💅)中的社会(✖)现(xiàn )实主义(😉)传统。然而，最(zuì )重要的是，在(🈳)影像中不同(tóng )(🌲)层次(cì )(🈂)的电影历史(💛)参考文献之(🏡)下，当(🈸)前许多政(🍾)治关联正在等待被发现(xiàn )。 (🐣)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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