剧情简介
康(kāng )沃尔(ěr )渔(yú )村的风景明信(🐽)片田园诗误(wù )导(🍩)了(🔼)人(rén )们。虽然(🕟)过去(qù )钓鱼(🕰)是一种养家(jiā )糊口(kǒu )(🎹)的方式，但如今(jīn )(🔬)富有(🗼)的(🐮)伦敦(💤)游客纷纷下(👋)山(⏬)，取代了当地人，当地人(⚫)的(de )生计因此受到威(wēi )胁。史蒂文(🙍)和马丁(dīng )(🔲)兄(xiōng )弟的关(guān )系也(yě )很紧张。马丁(🥞)是一个(🍮)没有(yǒu )船的渔夫，因为史蒂文开始(🔊)用它来(lái )为一整天(🚣)的游(yóu )客提供更赚(zuàn )钱的旅游。他们卖(🎛)掉了这座家(jiā )庭(🗞)别(bié )墅，现在看来，最后(hòu )一场(㊙)战斗是和新主人在海边的停(tíng )车(👃)位(wèi )上展开。然而，情况很快(🤳)就失控了，而不(bú )仅仅是因为车轮夹钳。 Bait是一(yī )种黑(hēi )白(bái )，手工制作，16毫米胶(🤷)片(piàn )制作的电影(yǐng )。许多(duō )关(guān )于鱼(🏒)、网、龙虾、长(📧)靴、绳结和渔篮的(💏)特写镜头让(♌)人(rén )想起了蒙太奇景点的(🔎)理(🌂)论(🔙)。对不同社会阶层(céng )的描(miáo )述(shù )——(🏓)可以(yǐ )说是阶级(jí )关系——也(🚻)让人想(🐂)起(👚)了英国(👩)电(diàn )影中(🤼)的(de )社(shè )会现实主义传统(🚩)。然(rán )而，最重(🈺)要的(de )是(🔮)，在影(🐈)像中(zhōng )不同层次(🈂)的(🚪)电影(yǐng )历史参考文献之下，当前许多(duō )(🛌)政治(zhì )关(🎞)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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