诱饵2019

康(🈯)沃尔渔(yú )村(cūn )的风(fēng )景(jǐng )(⛲)明信(🐽)片田(tián )(📼)园(yuán )诗(🏽)误导了人们。虽然(🕟)过去钓鱼是一种养家糊口的方式，但如今富有的伦敦游(yóu )客纷纷下山，取代了当地人，当地人(⚫)的(🐿)生计因(👑)此(🎩)受到威胁(xié )。史蒂文(wén )和马(mǎ )(✳)丁(🔲)兄弟(dì )的关系也很紧张。马丁(🥞)是一个没(méi )有船的(de )(🚸)渔(yú )夫，因为史蒂(dì )(😱)文开始用它来为一(📎)整(zhěng )天的游客提供更赚钱(😞)的旅游。他们(men )卖(🎛)掉了这座(🥔)家庭别(bié )墅，现在看来，最后一场战(zhàn )(👓)斗是(shì )和(hé )新主人在海边的停车(👃)位上展(zhǎn )开(🤲)。然而，情况(⛳)很快就失(🥕)控(kòng )了，而不仅仅是(shì )因(🌮)为车轮(🤘)夹(🈁)钳。　　Bait是一种黑白(🦇)，手工制(zhì )作，16毫(háo )米(🥋)胶片制作的电影(yǐng )。许多关于(🔈)鱼、网、(🎥)龙虾(xiā )、长(zhǎng )靴、绳结(jié )和渔篮的特写镜头(👵)让人想(xiǎng )起(qǐ )了蒙(🏃)太(tài )奇(qí )(🏴)景(🚲)点的理论。对不同社会阶层(🔥)的描述—(⏳)—可以(🎐)说(🍁)是阶级关(guān )系——也让(ràng )人想(🐂)起了(le )英(⏺)国(👩)电(🧘)影(yǐng )中(zhōng )的社会现实主义传统。然(rán )而(ér )，最重要的是，在(zài )影(🐈)像中不同(🌲)层(céng )次的(de )电影历(lì )史参(👼)考文献(⛅)之(zhī )(🏡)下(xià )，当前许多政治关(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.……