剧情简介
康沃(wò )尔渔(yú )村的(de )风景明(míng )信片田(tián )园(yuán )诗(shī )误导(🍩)了(🔼)人(🌰)们。虽然过去钓鱼是一种养家(🔧)糊口的方式，但如(rú )今富有的伦(🥩)敦(dūn )游客纷(fēn )(📿)纷下山，取代了当地(♑)人，当(dāng )地人(rén )的生(🕔)计因此(cǐ )受到威胁(🎡)。史(shǐ )蒂文和马丁兄(🥄)弟(🛹)的关系(🚥)也很(🕌)紧张。马丁(🥞)是一个(gè )没(méi )有船的渔(yú )夫，因(yīn )为史蒂文(wén )开(kāi )始用它(tā )来为一(📎)整(zhěng )天的(🔩)游客提(📯)供更赚钱的(🖲)旅游。他(🦗)们卖掉了(㊗)这座家庭别墅，现在看来，最后(🌞)一(🙄)场(㊙)战斗(dòu )是和新主人在(🈴)海边的停车位(wèi )上展(zhǎn )开。然而，情况很(hěn )快就(🎋)失(🥕)控了，而不仅仅是因(yīn )(🌮)为车(chē )轮夹(jiá )钳(❕)。 Bait是(🛎)一种黑白，手工制(zhì )(🏻)作，16毫米(mǐ )胶片制作的电影。许(🐩)多关于鱼、网、龙虾(xiā )、长靴、绳结和渔(yú )篮的特写(xiě )镜(🔷)头(👵)让人(💸)想起了蒙太奇景点(diǎn )的理论。对不(bú )同社会阶(jiē )(💣)层的描述——(🏓)可以说是阶级(🕕)关(😳)系(xì )——也(🚻)让人想(🐂)起(👚)了(le )英国电影(yǐng )中的(❓)社(shè )(📬)会现(xiàn )(🕺)实(💑)主义(yì )传(🚤)统(tǒng )。然(rán )而，最重要(yào )的(de )是，在影像中不同层(céng )次的电影历史参考文献(⛅)之下，当前许多政治关联(🚓)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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