剧情简介
康沃尔渔村的风景明信(xìn )片(piàn )田园诗误导了人(🌰)们。虽然(🕟)过去钓(diào )鱼是一(yī )种养家(jiā )糊(hú )(🎗)口的(de )方式，但(dàn )(🌰)如今富(🏴)有的伦敦游客纷(📿)纷下山，取代了当(dāng )地(dì )人，当地人(⚫)的生计(jì )因此受到威胁。史蒂(👁)文和马丁(dīng )兄弟的关系也很紧张。马(mǎ )丁是(shì )一个(gè )没有船的(🚸)渔夫，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。他们(🌑)卖(mài )掉(diào )了(㊗)这座家(jiā )庭别墅，现在看来，最后一场战斗是和新主人在海边(⛏)的停车位上展(🚻)开(🤲)。然(rán )而，情况(kuàng )很快就失控了(le )，而(🚴)不(bú )仅(jǐn )仅(⚾)是因为车(🗳)轮(🤘)夹(jiá )钳。 Bait是一种黑白，手(shǒu )工制(zhì )作，16毫米(🥋)胶片(🃏)制作(zuò )的电影。许多关于鱼(yú )、(🙎)网、(🎥)龙虾、长(zhǎng )靴、(😙)绳结和渔(🔤)篮的特(📸)写(🥤)镜头让人想起(qǐ )(🐞)了(🍽)蒙太奇(🏴)景点的(🔎)理论(🔙)。对不(bú )同社会阶层的描(🌸)述——(🏓)可以说是(🔲)阶(jiē )级关系——也(yě )让人(🔪)想起(👚)了英国电(diàn )(🧘)影中的社(shè )会现实主义传(chuán )统。然(⛴)而，最重(🈺)要(yào )的(de )是，在影像中(🍯)不(bú )同层(céng )(💕)次的(de )电影(🐱)历史参考文献之下(✒)，当前(🙅)许多政(🍾)治关(🎞)联正在等待被发(fā )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
猜你喜欢
剧情片周榜单
