剧情简介
康沃尔(🍅)渔村的风(fēng )景明信(🐽)片(piàn )田园诗误导了人(🌰)们。虽然过(🕸)去钓(diào )鱼(yú )是一种养家(jiā )糊口的方式，但如今富有的(de )伦敦(dūn )游(yóu )客纷纷(fēn )下山，取代了(🌗)当地人，当(dāng )地(dì )人的生计因此受(🤷)到威胁。史蒂文和(hé )马丁(🔲)兄弟的关(🏐)系也(yě )很紧张。马(mǎ )丁(🥞)是一个没有船的渔(yú )夫，因(yīn )为史(🤯)蒂文开始(🔊)用它来为一(📎)整天(🚣)的游客(kè )提供(gòng )更(gèng )赚钱的旅游(yóu )。他们(🌑)卖(🎛)掉(🌊)了这(zhè )座家庭别(🙂)墅，现在(🐑)看来，最后(hòu )一(yī )场战斗是(🙉)和新(xīn )主人在海(🍄)边的(de )停车位上展(🚻)开(kāi )。然(⛳)而，情况很(🏯)快就失控了，而不仅(🤖)仅(⚾)是因为车轮(lún )夹钳。 Bait是一种黑(🐾)白(bái )，手工制作，16毫(háo )米胶(🤷)片制(🌪)作的(de )电影。许多关于鱼(🏒)、网(wǎng )、龙虾(xiā )、长靴、绳结和渔篮(👌)的(💏)特写(xiě )镜头让人(rén )想(xiǎng )起了蒙太(🔞)奇(🏴)景(🚲)点的理(🌂)论。对(👄)不(🐖)同(tóng )社会阶层(céng )的描述(📞)——可以说是阶级关(guān )系——(📤)也让人想起了英国电影中(🤼)的社会(✖)现(xiàn )(🕺)实(shí )主义(yì )传(🚤)统。然而(🏸)，最(💁)重要的是，在影像中不(bú )同层次的电影(yǐng )历史(💛)参考文(🐅)献(xiàn )之下(✒)，当前(qián )许多政治(zhì )关联正在等待(👆)被发(fā )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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