剧情简介
康沃尔(ěr )渔村的风(fēng )景明(✒)信片田园(📒)诗误导了人们。虽然过去钓鱼(🕰)是一种养家(jiā )糊口的方(fāng )式，但如今富有的伦敦游客纷(📿)纷下山(⏬)，取代了(le )当地人(📼)，当地人(⚫)的生计因此受到威(wēi )(🛍)胁。史(🕯)蒂文和马丁兄(🥄)弟的(🚉)关系也(🐖)很紧(🛺)张(zhāng )。马丁是(shì )(🗑)一个没有船的(de )渔夫，因为史蒂文开始用(💞)它(tā )(⏺)来为一整天的游客(🌚)提(tí )供更赚钱的(de )旅游。他们(🌑)卖掉(diào )了这座家庭别墅，现在看来，最后(hòu )(🌞)一场(chǎng )战斗是和新(⛓)主人在海边的停(tíng )车(👃)位(wèi )上展开。然而(😍)，情(qíng )况(kuàng )很快(kuài )就失控了(le )(🐀)，而不仅仅是因(yīn )为车(🗳)轮夹(🈁)钳。 Bait是一种黑(🐾)白(bái )，手工制作，16毫(háo )米胶(jiāo )片制作的电影。许多关于鱼(yú )、(🙎)网(wǎng )(💿)、龙虾、长靴、绳(shéng )结和渔篮的(💏)特写(xiě )镜头让人想起了蒙(méng )太(🔞)奇(🏴)景点(diǎn )的(de )理论。对不同(tóng )社会(huì )阶层的描述(shù )——可以(🎐)说(shuō )(🍁)是阶级关系—(🎦)—也(yě )让人(rén )想(🐂)起了英(⏺)国电(🧘)影中(zhōng )的社会(✖)现(🕺)实主义传(🚤)统。然而(🏸)，最(💁)重(🈺)要的(de )(🧥)是(shì )，在影像中(🍯)不同层次的电影历史参考文(🐅)献(xiàn )之下(xià )，当前许(xǔ )多政治关联(🚓)正在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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