剧情简介
康沃尔(ěr )渔村的风(🆓)景明信片(piàn )田园诗误导了(le )人(🌰)们。虽然过去钓(diào )(🔱)鱼是一种养家糊口的方式(shì )，但如(🍖)今(🔬)富(fù )(🏴)有(yǒu )的伦敦游(yóu )客纷(📿)纷(🌫)下山，取代了(le )当地人，当地(dì )人(⚫)的(de )生计因(yīn )(👑)此受到威(wēi )胁。史(shǐ )蒂(👁)文(wén )和马丁兄弟的关系也很紧张(zhāng )。马丁(dīng )是一个没有船的渔(yú )夫，因为(🕕)史蒂文开始(🔊)用它来(🚢)为(🌙)一整天的游客提供更赚(⏯)钱的(de )旅游。他们(🌑)卖掉了这座家(💻)庭(🗞)别(bié )墅，现在(🐑)看来，最后一场战斗(dòu )(🙀)是(shì )和新主人在海边的停车(chē )(👃)位(🧤)上展开。然(⛳)而，情况很(hěn )快就(jiù )失控(kòng )了，而不仅(jǐn )仅是因为车轮夹钳(qián )。 Bait是一种(zhǒng )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(jié )和渔(yú )篮的特写(xiě )镜头让人想起了蒙(méng )(🏃)太奇(🏴)景点(📐)的理论。对(👄)不同社(shè )会(huì )阶(jiē )层(🔥)的描述——可以说(shuō )是阶级(jí )(🕕)关(guān )(😳)系——也让人想(🐂)起了英国电影中的(de )(❓)社会(✖)现实主义传统。然(rán )而，最(💁)重要的是，在影像(xiàng )中不同层(💕)次的电(🐌)影历史(shǐ )参考文献(xiàn )(⛅)之(🏡)下，当(🈸)前(qián )许(🛃)多(duō )政治关联正在等(děng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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