剧情简介
康(🈯)沃尔(ěr )渔村(cūn )的风景明信片田园诗误导了人们(🃏)。虽然过去(qù )钓(🔱)鱼是(shì )一种养(yǎng )家糊口(kǒu )的(🆖)方式，但如(rú )(🍖)今富有的伦敦(dūn )游客纷纷下山，取代了(🌗)当地人，当地(🖲)人的(🐿)生计因(👑)此(cǐ )受到威胁(xié )。史(🕯)蒂文和马丁兄弟(🛹)的关系也很(hěn )紧张。马丁是一(😚)个没有船的(de )渔夫(🚑)，因为史蒂(dì )文开始(shǐ )用它(tā )来为(🌙)一(📎)整天的游(yóu )客提(tí )供(🚨)更赚钱的旅(🔢)游。他(🦗)们卖掉了(㊗)这(🥎)座家庭别(bié )墅，现在看来，最(🤸)后(hòu )一场(chǎng )战(zhàn )(👓)斗(dòu )是和新主(🎾)人在海边的停车位上展开。然而，情况(kuàng )很快就失(🥕)控了，而(ér )不仅(🤖)仅是因为车(🗳)轮夹钳。 Bait是一种黑白，手(shǒu )(🈸)工制作，16毫米胶片制作(zuò )(💅)的(🌼)电影(💹)。许(🐩)多关于鱼、网、龙虾、长靴、绳(shéng )结和渔(🔤)篮(lán )的特写(xiě )(🥤)镜头(👵)让人想起(qǐ )了蒙太奇(qí )景点(📐)的(de )理论。对不同(🆙)社会阶层的(de )描述——可(kě )(🚽)以说是阶级关系(👗)——(📤)也让人想起了(🛃)英(yīng )国电影中(🤼)的社会现实主义(😉)传统。然而(ér )，最(💁)重要(⏺)的(🧥)是，在(zài )影像中不同层次(🈂)的电影历(lì )(🖱)史参考文献之下(xià )，当前(qián )许多政(🍾)治关(guān )联正(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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