剧情简介
康沃尔(ěr )渔(🌠)村(cūn )的风(fēng )景(jǐng )明信片田园诗误导了人们(🃏)。虽然过去钓鱼是一(yī )种养家糊口的方式，但如今富(fù )有的伦敦游客纷纷下(👋)山(⏬)，取代了当地人，当(🚤)地人(rén )(⚫)的生计因此(cǐ )受(🤷)到威(🛍)胁。史蒂文(wén )和马丁兄弟(dì )的关系也很紧张。马丁是一个没有(yǒu )船的渔(🖍)夫(fū )，因(🥀)为(🕕)史(shǐ )(🤯)蒂(dì )(😱)文(🐖)开始用(yòng )它(⏺)来为一(yī )整天的(🔩)游客提(📯)供更赚(zuàn )钱的(de )(🖲)旅(lǚ )(🔢)游。他们(men )(🌑)卖掉了这座家(💻)庭(🗞)别(bié )墅，现在看来(lái )，最后一场战(👓)斗(🙀)是和新主人在海边的停车位上展开。然而，情(👺)况很(hěn )快就失控(🕐)了(🐀)，而不仅仅是(shì )因为车(🗳)轮夹钳。 Bait是一种黑(🐾)白，手(shǒu )工制作，16毫米胶(🤷)片制作的(🌼)电(diàn )影。许多关(guān )于(🔈)鱼(🏒)、网、龙虾(🈺)、长靴、(😙)绳结和(hé )渔篮(lán )的特写镜(jìng )头(tóu )让人想起了蒙太(🔞)奇景点(diǎn )的理论(🔙)。对不同社会阶(💣)层的描(miáo )述(shù )——(🏓)可(🚽)以说是阶级关系——也让(🍺)人想起了(le )英国电影(💅)中(🤼)的社会现实主义传统。然而(ér )，最重要(yào )的是(🔮)，在(zài )影(yǐng )(🐈)像中(zhōng )不同层(💕)次(cì )的电影历史参(👼)考文献(xiàn )之下，当(dāng )前许多政治关联正(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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