剧情简介
康沃尔渔(yú )村的风(fēng )景明信片田园(yuán )诗误导了人们。虽然过去钓(🔱)鱼是一(🤴)种养(yǎng )家糊口的(de )方(🥈)式，但(dàn )如(rú )今(jīn )富有的伦敦游(😧)客纷纷(fēn )下(👋)山，取代了当地人，当地(dì )人(⚫)的(de )(🐿)生(shēng )(🕔)计(🔸)因(👑)此(cǐ )受到威(wēi )胁。史(shǐ )(🕯)蒂文和马(✳)丁兄(xiōng )弟的关(🏐)系也很紧张(📞)。马(mǎ )丁是一个没(✖)有(🙁)船的渔夫(🚑)，因为史蒂(😱)文开(kāi )始用它(⏺)来(lái )为一整天的游客提供更赚钱的旅游。他(tā )(🦗)们卖掉了这座(zuò )家(💻)庭别墅，现(xiàn )在看来，最后一场战斗是和(💪)新主人(⏰)在(🈴)海(🍄)边的(de )停(tíng )车(chē )位上展开。然(rán )而，情(👺)况很快就(🎋)失控了，而不仅仅是因(yīn )为车轮夹(jiá )钳。 Bait是一种(🚗)黑白(bái )，手(🈸)工制作，16毫(👪)米胶片制作的(🌼)电(diàn )影。许多关于(🔈)鱼、(🙎)网、龙(🐡)虾(🈺)、长靴、绳结(⏲)和(hé )(📛)渔篮(lán )(👌)的特写镜(🔷)头让人想起(🐞)了(🍽)蒙(🏃)太(tài )奇景点的理论。对(duì )不同社会阶(💣)层的描述——可以说是(shì )阶级关系——也(yě )让人想(xiǎng )起(👚)了英国电影中(zhōng )的社会(huì )现实(shí )主(zhǔ )义传统。然而，最(zuì )重要的是，在影(yǐng )像中不(bú )(🔍)同(🌲)层次的(🚪)电影历(🖱)史参考文献之(zhī )下(xià )，当前许(xǔ )多政治(zhì )关联正在等待被发现(🍉)。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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