剧情简介
康沃尔渔村的风景(⛲)明信片田(📼)园诗误导了(le )人(rén )们。虽然过去(qù )钓鱼是(🤢)一种(zhǒng )(🍥)养家糊口(🎹)的方式，但(dàn )如今富有(yǒu )的伦敦(💤)游客(kè )纷(📿)纷下(xià )山，取代(dài )了当(dāng )地人，当(dāng )地人的生计(🔸)因此受到威胁。史(🕯)蒂(👁)文和(hé )(💆)马丁兄弟(dì )的关(🏐)系也很紧(jǐn )张(📞)。马丁(dīng )是一个(🍮)没有船的渔夫，因为(🕕)史蒂文开始(shǐ )(🔊)用它来为一整天的(de )游(yóu )客提供(gòng )更(🛑)赚钱的旅游。他们卖掉了这座(🥔)家庭别墅(shù )，现在看(🏂)来(🙌)，最(zuì )后一场战斗是和(hé )新主人在(🈴)海(hǎi )边的停(🤷)车位上展开(🤲)。然(⛳)而(😍)，情(👺)况很(🏯)快就(jiù )失(🥕)控了，而不仅仅是因为车(🗳)轮夹钳。 Bait是(🛎)一(yī )(💍)种(zhǒng )黑(🐾)白，手(shǒu )(🈸)工制作，16毫米(🥋)胶(jiāo )片制作的(de )电影。许多关于鱼、(🙎)网、龙虾(xiā )、长靴、绳(shéng )结和(📛)渔篮(👌)的特写镜(jìng )头让人想(🥅)起了(le )蒙太奇景(jǐng )点的理(lǐ )论。对不(bú )(🐖)同社会阶层的描述——可(kě )以说是阶级关系(xì )——也让人想起(qǐ )(👚)了(le )英国电影中的社会现实(shí )主(zhǔ )义传统(tǒng )。然而(ér )，最重(🈺)要的是(🔮)，在影像(🔬)中不同层次(cì )的电影历史参考文献之下，当前许(🛃)多政治(zhì )关联(lián )正在(🐇)等(děng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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