剧情简介
康沃尔渔(🌠)村的风景明信片田(tián )园诗误导了人们。虽然过去(qù )钓鱼是一种(zhǒng )养家糊口(kǒu )(🎹)的方式(shì )，但如今(🔬)富(fù )有的伦敦(dūn )(💤)游客纷纷下山(shān )(⏬)，取(🎏)代(dài )(❣)了(le )当地人，当地人的生(shēng )计因(yīn )此受到(🗄)威(wēi )胁。史蒂文(🙍)和马(mǎ )(✳)丁兄弟的关系也很紧张。马丁(🥞)是一个没有船(chuán )的(de )渔夫，因为(wéi )史(🤯)蒂(dì )文开始(🔊)用(yòng )(💞)它(tā )来(lái )为(wéi )一(yī )(📎)整天(tiān )的游客提供更赚钱的旅游。他们(🌑)卖掉了这(🥎)座家庭别墅，现在看来，最后(🌞)一场(chǎng )战斗是和新主人在海边(⛏)的停车位(wèi )上展开。然而，情况很(hěn )快就(jiù )失控了，而(🚴)不仅仅是因为(👣)车(🗳)轮夹钳。 Bait是一(💍)种黑白(🦇)，手(🈸)工(➡)制作，16毫米胶(🤷)片制作(zuò )的电影。许多关于(yú )鱼、网、(🎥)龙(lóng )虾、长靴(🔍)、绳结和渔(yú )篮(lán )(👌)的(💏)特写镜头让(♌)人想(🥅)起了蒙太(🔞)奇景点(diǎn )的理论。对不(bú )同社(🖍)会(huì )阶层的(de )描述——可(kě )以(🎐)说是阶级关(guān )系—(🎦)—也让人想起了英国电影(💅)中的(❓)社会现实主义(😉)传(chuán )统。然(⛴)而，最(💁)重(🈺)要的是，在影像中不(bú )(🔍)同(🌲)层(céng )次的电影历(lì )(🖱)史参考文(wén )(🐅)献之下，当前许多政治关联(lián )(🚓)正在等待被发现(xiàn )。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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