剧情简介
康(kāng )沃尔(ěr )渔村的风(fēng )景明(míng )(✒)信片田园诗误导了人们。虽然过(🕸)去钓鱼(yú )是一种养家糊(hú )口的方式(shì )(🐉)，但(dàn )如(🍖)今富有的伦敦(💤)游客纷(fēn )纷下山，取(🎏)代(❣)了当(🏇)地人(rén )，当地(dì )人的(🐿)生(🕔)计(🔸)因(yīn )此受到威胁。史蒂(👁)文和(hé )马丁兄弟的关系(🚥)也(yě )很(hěn )(🕌)紧张(zhāng )。马丁是一个没有船的渔夫(🚑)，因(yīn )(🥀)为史(shǐ )蒂文开(kāi )始用(💞)它来为一(📎)整天的(de )游客提供更(🛑)赚钱的旅游。他们卖(mài )掉了(㊗)这座家庭别墅，现(xiàn )在看来(lái )，最后一场战(👓)斗是和新主人(⏰)在海边的停(🤷)车位上(🔔)展开(🤲)。然而，情况很快就失控了，而(ér )不仅(jǐn )(🤖)仅是(🕯)因(🌮)为车(🗳)轮夹钳。 Bait是(🛎)一(yī )种(zhǒng )黑(🐾)白，手工制作，16毫(👪)米胶片制作(zuò )的电影(💹)。许多关于鱼、(🙎)网、龙虾(🈺)、长靴、绳结和渔篮的特写(xiě )镜头让人想起了蒙太奇景点的理论(🔙)。对不同社(🖍)会(huì )阶层(🔥)的(de )描述(shù )(📞)——可以(yǐ )说是阶(👛)级(jí )关系(👗)——也(yě )(🚻)让人想起了英国电影中(🤼)的社会现实(💑)主义传统。然而，最重(chóng )要的是，在(🈳)影像中不同(🌲)层次的电影历史参(cān )考文(🐅)献之下(xià )，当(dāng )前许(xǔ )多政治关(🎞)联正在等(děng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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