剧情简介
康沃尔渔村的(🔨)风(🆓)景明(míng )信(🐽)片田园诗误(wù )导(dǎo )了人们。虽然过去(qù )(🛍)钓鱼(yú )(🕰)是一种(zhǒng )养家糊口的方(fāng )式，但如今(🔬)富有的(🐮)伦(🥩)敦(💤)游(😧)客纷纷下(xià )山，取代了当地人(📼)，当地人的(🐿)生(🕔)计(🔸)因(yīn )此受到威胁。史蒂(dì )文(🙍)和马丁(🔲)兄弟的关系(xì )也很紧张。马(mǎ )(🎫)丁是(shì )一(yī )个(🍮)没(méi )有船的渔夫，因为(wéi )史蒂(😱)文(🐖)开始用(💞)它来为一整天的游客提(tí )供更(🛑)赚钱的(🖲)旅(lǚ )游。他(🦗)们卖掉(diào )了(㊗)这(🥎)座家庭别墅，现(xiàn )在看(🏂)来，最(🤸)后一场战斗是和新(xīn )主人在海(hǎi )边的停车位上展开。然而，情况(⛳)很(🏯)快就失控了(le )，而不仅仅是因为车轮夹钳(❕)。 Bait是一种黑白(bái )，手工制作，16毫(háo )米胶片制作(💅)的电影。许多关(😝)于鱼、(🙎)网、龙虾、长靴、绳结和渔(yú )篮的特写镜头让(♌)人想起了(le )蒙太(tài )奇(🏴)景点的理论(lùn )。对不(bú )同社会(🔫)阶层的描述(shù )——可以说(🍁)是阶(jiē )级(jí )关(😳)系——也让人(rén )想(xiǎng )起了(le )英国电(diàn )影中的(de )(❓)社会现实主(🎴)义(yì )传(🚤)统。然(rán )而，最重(chóng )要的是(🔮)，在影像中不(bú )同层次(🈂)的(🚪)电影历史参考文(🐅)献(xiàn )之(🏡)下，当前许多(duō )政治关联正(📯)在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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