剧情简介
康沃尔(ěr )渔村的(de )风景明(✒)信片(🥇)田园诗(🏽)误导了人们。虽(suī )(😘)然过去钓鱼(🕰)是一种养家糊口的方式，但如今富(fù )有的伦(🥩)敦游客纷(fēn )纷下(xià )山，取代(❣)了当(dāng )(🏇)地人(📼)，当地(🖲)人的生(shēng )(🕔)计(🔸)因此受到威胁(xié )。史蒂文和马丁兄弟的关系也(yě )(🐖)很紧张。马丁(🥞)是(🗑)一个没有(yǒu )船(chuán )的渔夫，因(🥀)为史(shǐ )蒂(😱)文开始(🔊)用它来(🚢)为(wéi )一(📎)整天的游(🥁)客提供(gòng )更(gèng )赚钱的(de )旅游。他们卖掉(diào )了(le )(㊗)这座家(💻)庭别(🙂)墅，现(xiàn )在看来，最后一(yī )场(chǎng )战斗是(🙉)和新主(zhǔ )人在海边(⛏)的停车(chē )(👃)位上(🔔)展开(🤲)。然而，情况(⛳)很快就失控(kòng )了，而不仅仅是因(🌮)为(wéi )车轮夹(jiá )钳。 Bait是一(💍)种黑白，手工(gōng )制作，16毫(háo )米(mǐ )胶(🤷)片制作的电影。许多关于(yú )鱼、(🙎)网(wǎng )、龙虾、长靴、绳结和渔(yú )篮的特写镜头让(♌)人想(xiǎng )起了蒙太奇(qí )景点的(🔎)理论。对不(bú )同社会阶层的(de )(🚡)描述——可(🚽)以说是(🔲)阶级(jí )关(guān )系(xì )——也(🚻)让(ràng )人想起(qǐ )了英国(👩)电影中的社会现实主义传(chuán )(🚤)统。然(rán )而，最重要的(🧥)是，在影像中不同层次的(de )电影历(🖱)史参(👼)考文献之下，当前许(🛃)多政(zhèng )治关联正在等(♊)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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