剧情简介
康(kāng )沃(🕕)尔渔村的风景明信(xìn )片田(tián )园(📒)诗误导了(le )人们。虽然过去钓鱼是一种(zhǒng )养家糊口的方式(shì )，但如今(🔬)富(fù )有的(🐮)伦敦游客纷纷下山，取代(dài )了当地人，当地人的(🐿)生(shēng )计因此受到威(🛍)胁。史蒂文和马丁(dīng )兄弟的(de )关系也很紧(🛺)张(📞)。马丁(dīng )是(shì )(🗑)一个没有(yǒu )船的(de )渔夫，因为(wéi )史蒂文(wén )开始用它来为(🌙)一整天的(de )游(yóu )客提供更赚(⏯)钱(😞)的旅游。他们卖掉(diào )了这座(zuò )家庭(🗞)别墅，现(xiàn )在看来，最后一(🙄)场战斗是和新主人(⏰)在海边的停车(chē )位上展开。然而，情(qíng )况很快就(jiù )失控(🕐)了，而不仅仅(jǐn )是因为车轮夹钳。 Bait是一种(zhǒng )黑白(🦇)，手(🈸)工制作，16毫(háo )米胶(jiāo )片制作的电影。许多关于鱼、网(💿)、(🎥)龙(lóng )虾、长(zhǎng )(📧)靴(xuē )、(😙)绳(🤥)结(jié )和渔篮的特(📸)写(xiě )(🥤)镜头(👵)让人(💸)想起了蒙太(🔞)奇景(🚲)点的(🔎)理论(lùn )。对不(🐖)同社会阶层的描述——可以(yǐ )说是(shì )阶(jiē )级(🕕)关(😳)系—(🎦)—也让人(rén )想(xiǎng )起了英国(👩)电影(💅)中的社会(huì )现实主(zhǔ )义(😉)传(🚤)统(🚩)。然而，最重(chóng )要的(de )是，在影像中不同层(💕)次(🈂)的电(🐌)影历史参(👼)考文献之(🏡)下，当前(🙅)许多政治(🕵)关(guān )联(🚓)正在等待被发现(🍉)。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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