剧情简介
康(🈯)沃(🕕)尔渔村(cūn )(👷)的风景明(✒)信(🐽)片田园诗误导了人们。虽然过去钓鱼是(shì )一种(zhǒng )养(🎺)家糊口的方式，但(dàn )如(rú )今富有的伦(lún )敦(dūn )游(😧)客纷纷下(xià )山(⏬)，取(qǔ )代了(🌗)当地人，当地(dì )人的生计因此受到威(wēi )胁。史蒂(dì )文和马(mǎ )丁(🔲)兄弟的关系也(yě )很紧张(zhāng )。马(mǎ )(🎫)丁是一个没有船的渔夫，因为(🕕)史蒂文(wén )开(kāi )始用它(⏺)来(🚢)为一整天的游客(kè )提(tí )供更赚(⏯)钱(qián )的旅(🔢)游(❔)。他们卖(🎛)掉了这座家(💻)庭(tíng )别(bié )墅，现(xiàn )在(🐑)看来(lái )，最(🤸)后一场战(zhàn )斗是和(hé )(💪)新(⛓)主人在(zài )海(🍄)边的(de )停车(👃)位上展开。然(rán )而，情(qíng )况很(hěn )快就(jiù )失控了，而不(bú )仅仅是因为车轮夹(🈁)钳(❕)。 Bait是一种黑白(bái )，手工制作(🐛)，16毫(háo )米胶片制(zhì )作的电影。许多关于(yú )鱼、网、(🎥)龙(🐡)虾、长(📧)靴、绳结和渔篮的(de )(💏)特写镜头让人想起了(🍽)蒙(🏃)太(🔞)奇景(jǐng )(🚲)点的(🔎)理论。对不同社会阶层(🔥)的描(miáo )述——可(kě )(🚽)以说是阶级关系——也让(ràng )(🍺)人(🔪)想起了英国(guó )电影中的社会现实(shí )主(🎴)义传统。然而，最重要的是，在影像(🔬)中不同(🌲)层次的(🚪)电影历史参考(kǎo )文献(⛅)之下，当前许(xǔ )(🛃)多政(🍾)治(zhì )关联(lián )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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