剧情简介
康沃(wò )尔(ěr )渔(🌠)村的(🔨)风景明信片田园诗误导了人(rén )们。虽(suī )然过(guò )去钓鱼(🕰)是一种养家糊口(kǒu )的方(🥈)式，但(dàn )如(rú )今(🔬)富有的伦敦游客(🎾)纷纷下山(shān )(⏬)，取(qǔ )代了当(🏇)地(♑)人，当地(dì )人的生计(jì )因此受到(dào )威胁(xié )(🎡)。史(🕯)蒂(dì )(👁)文和马丁兄弟的关(guān )系也(yě )很(🕌)紧张。马丁是一个(gè )(🍮)没(✖)有船的渔(yú )夫，因为史蒂文开(kāi )始用(💞)它来为一整(zhěng )天(tiān )(🚣)的游客(kè )提供(🚨)更赚钱的(de )旅游。他们卖掉了(㊗)这(zhè )座家(💻)庭(🗞)别墅(shù )(📙)，现在看来，最(🤸)后一(yī )场战斗(🙀)是和新(xīn )主(🎾)人在海边(biān )的停车位上展开。然而，情况很快就失控了，而不(🧣)仅仅是因为(👣)车(chē )轮夹钳。 Bait是一种黑白，手(shǒu )工制(zhì )作，16毫(👪)米(mǐ )胶(jiāo )片(piàn )制作的电影。许多(💯)关于(yú )鱼、(🙎)网、龙虾、长靴(🔍)、绳结和渔(🔤)篮的特写(🥤)镜头(tóu )让人(💸)想(🥅)起(🐞)了蒙(méng )太(tài )奇景点的理论(🔙)。对不同(tóng )社(shè )会阶层的描述(📞)——可以说(🍁)是阶级关(😳)系——(📤)也让人想起了英国电影中的(❓)社会现实主义传统。然而，最重要(⏺)的是，在影像中不同层次的电(diàn )影历(🖱)史参考文(wén )献(xiàn )之下，当前许多政治关联(🚓)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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