剧情简介
康沃尔渔(yú )村的风(fēng )景(⛲)明信片田园(📒)诗误导(dǎo )(🍩)了人们。虽(suī )然(rán )过去(🛍)钓(🔱)鱼(yú )是一种养(yǎng )家糊口的方式，但如今富有的伦敦游客纷纷(fēn )下山，取代了当地人(rén )，当(dāng )地人的生计因此(cǐ )受到(🗄)威(wēi )胁(🎡)。史蒂文(wén )和(hé )马丁兄弟的(de )关系也很紧张。马丁(🥞)是(🗑)一个(🍮)没有船的渔(🖍)夫，因为史(🤯)蒂(dì )文开始(shǐ )用它来为(wéi )一(📎)整(zhěng )天(🚣)的游客(kè )(🌚)提(📯)供更赚(zuàn )(⏯)钱的旅游。他们卖(mài )掉(🌊)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(tíng )车(👃)位(🧤)上展开(🤲)。然(⛳)而，情况很快(🤳)就失控了，而不仅仅是因为车(chē )轮夹钳。 Bait是一种(zhǒng )黑白，手(shǒu )工制作(🐛)，16毫(👪)米(🥋)胶片制作的电影(yǐng )(💹)。许多关于鱼、网、龙(🐡)虾、长靴(xuē )(🔍)、绳结和渔篮的特写(xiě )(🥤)镜头让人想(xiǎng )起了(🍽)蒙(🏃)太(🔞)奇景点的理论。对不同社会阶层的描述(📞)——可以说是阶级(jí )关系——也让人想起了英国(guó )电(🧘)影中(🤼)的社会现实(💑)主(🎴)义(yì )传(chuán )统(tǒng )。然而，最(zuì )重(chóng )要的是，在影像中不同层次的电影历史(💛)参(cān )考(kǎo )文献(xiàn )之下，当前许多政(🍾)治(🕵)关(🎞)联正在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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