剧情简介
康(kāng )沃尔(🍅)渔(🌠)村(cūn )的(de )风景明信片田(tián )园(yuán )(📒)诗误导(dǎo )了人们(🃏)。虽然(rán )过(guò )去钓(🔱)鱼(yú )是一种养家糊口的方式(shì )，但(dàn )(🌰)如今富(🏴)有的(de )伦敦(💤)游客纷(fēn )纷下山，取代了当地(♑)人，当地人的生计(jì )因此受到威胁。史(🕯)蒂(👁)文和马丁兄弟的(🚉)关系也很紧张(zhāng )。马丁是一(😚)个没有船(😻)的渔夫(🚑)，因为(wéi )史蒂文开(🤷)始用它来为一整天的游客提供更赚钱的旅游。他们卖掉(diào )了这(zhè )(🥎)座家庭别(bié )墅(shù )，现(xiàn )在(🐑)看来，最后(hòu )一(yī )场战斗(🙀)是(shì )(🙉)和新主(zhǔ )人在海(🍄)边的(de )停车位上展(zhǎn )开(kāi )。然而，情(qíng )况很快就(🎋)失控了，而(🚴)不仅仅(jǐn )是因为车轮夹钳。 Bait是(🛎)一种黑白，手(🈸)工(gōng )(➡)制(zhì )作，16毫(háo )米胶(🤷)片(🃏)制作(zuò )的(🌼)电影。许多(duō )关于鱼(yú )、网、(🎥)龙(lóng )虾、长靴、绳结和(📛)渔篮(👌)的特写镜头让人(rén )想起了(🍽)蒙太奇景点的理(🌂)论。对不同(🆙)社会阶层(céng )的描述——可以(🎐)说(shuō )是(shì )阶(👛)级关系——(📤)也(🚻)让人想(🐂)起了英国电(🧘)影中的社会现(🕺)实主义(😉)传统。然而(ér )，最(💁)重(chóng )要(yào )的是(shì )，在影(yǐng )像中不同层次(🈂)的电影(yǐng )(🐱)历史(shǐ )参考文(wén )献之下，当前许多政(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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