剧情简介
康沃尔渔村(👷)的(de )风景明信片(🥇)田(tián )园(yuán )诗误导(dǎo )(🍩)了人们。虽然过(guò )(🕸)去钓(diào )鱼(yú )是一种养家(🔧)糊口(kǒu )的(🆖)方式(shì )(🐉)，但如今(🔬)富有的(de )(🐮)伦(lún )敦游客纷纷下(👋)山，取(🎏)代了(le )当(🏇)地人，当地(🖲)人(rén )的(🐿)生计因此受到威胁。史蒂文和马丁兄弟的(de )关(guān )系也很紧张。马(🎫)丁是一个没有船的渔夫(🚑)，因为(🕕)史蒂文开始(🔊)用(yòng )它来为一整天(tiān )的游客提(📯)供更赚钱的旅(lǚ )游。他们卖(🎛)掉(diào )了这(zhè )座(🥔)家庭别(bié )墅，现(xiàn )在(zài )看来，最后一场战斗是和新主人(⏰)在海边(biān )的停车位上展开。然(rán )而，情况(kuàng )(⛳)很(🏯)快就(jiù )失控(kòng )(🕐)了(🐀)，而不(🧣)仅(🤖)仅是(🕯)因为车轮夹钳(qián )。 Bait是(🛎)一种黑白，手工(➡)制作，16毫(👪)米胶片(🃏)制(🌪)作的电影。许(xǔ )多关于鱼、(🙎)网、龙虾(xiā )、长靴(🔍)、绳结(jié )和(hé )渔篮的特(📸)写镜头让(ràng )人想起(qǐ )了(le )蒙太奇景点的理论。对(duì )不同社会(🔫)阶层(céng )的(🚡)描述—(⏳)—可以(🎐)说(shuō )是(🔲)阶级关(guān )系——也让人(🔪)想起了(le )英国电影(yǐng )中的社会(huì )现实主(🎴)义传(chuán )统(tǒng )。然而(ér )，最(💁)重(chóng )要的(🧥)是，在影像中不同层次的电(diàn )影历(lì )史参考文献之下，当(🈸)前许(xǔ )多政(zhèng )治关(guān )联正在等待被(🔍)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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