剧情简介
康沃尔渔(🌠)村的风(fēng )景明(✒)信片田园诗误(wù )导(dǎo )了人们(men )(🃏)。虽然(🕟)过(🕸)去钓鱼(yú )是一种(zhǒng )养家糊口的方式(🐉)，但如今(jīn )富有的(de )伦(lún )敦(💤)游客纷纷下山，取(qǔ )(🎏)代了(le )当(🏇)地人，当(🚤)地人的生计因此受(🤷)到威胁。史(shǐ )蒂文(wén )和马丁兄弟的关(guān )系也很紧张。马(mǎ )丁(🥞)是一(yī )个没有船(chuán )的渔夫，因为史(🤯)蒂文开始用它来为一整天的游客提供更赚钱(qián )的旅游。他(tā )们卖(mài )掉了这座家庭别墅，现(xiàn )(✋)在(zài )看来，最后一(yī )场(㊙)战(👓)斗(🙀)是(shì )和新主(zhǔ )人在海边的停车(👃)位(wèi )(🧤)上展开。然而(ér )，情(👺)况很快就失(🥕)控了，而(ér )(🚴)不(bú )仅(jǐn )仅是因为(👣)车轮夹(jiá )钳。 Bait是(🛎)一(yī )种黑(🐾)白(bái )，手(🈸)工制(zhì )作，16毫米胶片制作的(🌼)电影。许(xǔ )(🐩)多关于鱼、网、龙(lóng )虾(xiā )、长靴、绳(shéng )结(⏲)和(hé )渔(🔤)篮的(💏)特(tè )写(xiě )镜头让人(💸)想起了蒙太(🔞)奇景点(📐)的理(🌂)论。对不同社会阶层的描(🌸)述——可(🚽)以(🎐)说(🍁)是阶级关系(👗)——(📤)也(yě )让人(rén )想起(qǐ )了英国(👩)电影中(🤼)的社会现实主义传(🚤)统。然(rán )而(ér )，最重要的是(shì )，在影像中不同层次的电影历(🖱)史参考文(wén )献(⛅)之下，当前(qián )(🙅)许(xǔ )多政治(zhì )关联正(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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