剧情简介
康沃尔渔村的风景(jǐng )明(míng )信(xìn )片田园(📒)诗误导了人们。虽然过(guò )(🕸)去(🛍)钓鱼是(shì )一种养(🎺)家(jiā )糊(🎗)口的方式，但如(rú )今富有的伦敦游客纷(fēn )纷下山，取(qǔ )代了当地(dì )人(rén )，当地(🖲)人(rén )的(de )生计因(👑)此受(shòu )到(🗄)威胁。史蒂文和马丁兄弟的关系也很(🕌)紧(jǐn )张。马丁是一个没有船的渔夫，因(🥀)为(🕕)史(shǐ )(🤯)蒂(😱)文开始用它(tā )来为一(📎)整(🧚)天的(de )游客提供更赚钱的旅(🔢)游。他们卖掉了(le )这座家庭别墅，现在看来，最后一场(chǎng )战(zhàn )斗是和新主人在海边的停车位(wèi )上展开。然(rán )而，情(👺)况很(hěn )(🏯)快就失控了，而(ér )不仅(🤖)仅是因(yīn )(🌮)为(👣)车轮夹钳。 Bait是一(💍)种黑白，手(shǒu )工(gōng )制作，16毫米(mǐ )胶(🤷)片制作的电(diàn )影。许(🐩)多关于(🔈)鱼(yú )、网(wǎng )、龙(🐡)虾(xiā )、长(zhǎng )靴(xuē )(🔍)、绳结和渔篮(👌)的特写镜头(👵)让(♌)人想(🥅)起(🐞)了(le )蒙太(🔞)奇景(🚲)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(👚)了英国(guó )电(diàn )影中的(❓)社(shè )会(✖)现(xiàn )(🕺)实主义传统。然而，最重(🈺)要的是(🔮)，在影像中(zhōng )不(🔍)同(tóng )层次的(🚪)电(diàn )影历史(💛)参考文献之下，当前许多政(zhèng )(🍾)治关(guān )(🎞)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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