剧情简介
康沃尔渔村的风(🆓)景明(✒)信片田(tián )园(yuán )诗误(🐌)导了(le )人(rén )们。虽然过去(qù )钓(diào )鱼是一种养(yǎng )家糊口的方式，但(🌰)如今(🔬)富有的伦敦(💤)游客纷纷(🌫)下山，取代了当地人(rén )(📼)，当(🚤)地人的生计因此受到威胁。史蒂文(🙍)和马(mǎ )丁兄(🥄)弟的关(guān )系也很(hěn )紧(jǐn )张(zhāng )。马(mǎ )丁是(shì )一个没(✖)有船的(🚸)渔夫(fū )(🚑)，因为史蒂文开始用它来为一(📎)整天的游客提供更赚钱的旅游(yóu )。他们卖掉(diào )了这(zhè )(🥎)座家庭(🗞)别(🙂)墅，现在看(🏂)来，最(zuì )后一场(㊙)战(zhàn )斗是(shì )和新主人在(🈴)海(🍄)边的停(🤷)车位(🧤)上(🔔)展(zhǎn )开(🤲)。然而，情况很快就失控了，而不仅(jǐn )仅是因为(wéi )车(chē )轮夹钳(qián )。 Bait是(🛎)一种黑白，手(🈸)工(➡)制作，16毫(👪)米胶片制作的电影。许多(💯)关于鱼、网、龙虾、(🤔)长靴、(😙)绳(🤥)结和渔篮(lán )(👌)的特(📸)写镜头(tóu )让(♌)人(💸)想(xiǎng )起了蒙(🏃)太(tài )奇景点的理论。对不同社会阶层(céng )的描述——可(🚽)以说是阶级关系——(📤)也让人想起了(le )英(⏺)国电影中的社会现(🕺)实主义(😉)传统(tǒng )。然而，最重要的是(shì )，在影像中(zhōng )不(bú )同(🌲)层(céng )(💕)次(cì )的电(🐌)影历史(shǐ )参(cān )考(kǎo )文献之下，当(dāng )(🈸)前(qián )许多政治关联正在等待被发(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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