剧情简介
康沃尔渔村的(🔨)风景明信片(piàn )田园诗(🏽)误导了人们(men )。虽然(rán )过去钓鱼是(🤢)一种养(yǎng )家糊口(🎹)的(🆖)方(fāng )(🥈)式，但如(🍖)今(jīn )富(fù )有的伦(lún )(🥩)敦游(😧)客(🎾)纷(📿)纷下(xià )山，取(qǔ )代(dài )了(le )当(dāng )地人，当地人(rén )的生计因(yīn )此受(🤷)到威胁(🎡)。史蒂文(wén )和马丁兄弟的关系也很紧张(zhāng )(📞)。马丁是一个(gè )没有(🙁)船的(de )渔夫，因为(wéi )史蒂文(wén )开始用它来(🚢)为一整天(🚣)的(🔩)游客提供更赚钱的旅游。他们(men )卖掉(diào )(🌊)了这座家庭别墅，现在(zài )(🐑)看来，最后(hòu )一场战斗(dòu )是和新主人在海边的停(tíng )车(chē )位上展(zhǎn )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(shì )一种黑白(🦇)，手工制作，16毫(háo )米胶片制作(💅)的电影(💹)。许多关(😝)于(🔈)鱼、网、龙(🐡)虾、(🤔)长靴、绳结和(hé )渔篮的(de )特写镜头让人(rén )想起了蒙太奇(qí )景点的理论。对不同社会(🔫)阶(💣)层的描述——可以(yǐ )说是阶级(🕕)关系——(📤)也让人想起了(le )英国电影(💅)中的(❓)社会现(🕺)实主(zhǔ )义(yì )传统。然而，最重(🈺)要(⏺)的(🧥)是(🔮)，在(zài )影像中(zhōng )(🍯)不同(tóng )层次的电影(yǐng )历史(💛)参(👼)考文(🐅)献之(🏡)下(✒)，当前(🙅)许多(🛌)政(🍾)治关(guān )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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