剧情简介
康(🈯)沃(wò )尔渔村的(de )风(fēng )景明(míng )信(🐽)片田(tián )园诗(shī )误导了(le )人们(men )。虽然(🕟)过去钓(🔱)鱼是一(yī )种养家糊(hú )口的方(🥈)式，但如今富有的伦(🥩)敦(dūn )游客纷纷下山，取(qǔ )代(dài )了当(dāng )地人，当地人的(de )(🐿)生(shēng )计(jì )因此受到威胁。史(🕯)蒂(👁)文(🙍)和(💆)马丁兄弟的(de )关系也很紧张(zhāng )。马丁是一个没有船的渔夫，因为(🕕)史(shǐ )蒂(dì )文开始用(yòng )它(tā )来为一整天的游客(kè )提供更赚钱的旅游。他们卖掉(🌊)了这座家庭(tíng )别墅，现在看来，最后一(🙄)场战斗是(shì )和(💪)新(⛓)主人在海边的停车位上展(🚻)开。然而，情(👺)况很快就失控了(🐀)，而不仅(🤖)仅(jǐn )(⚾)是因(yīn )为车轮夹钳(❕)。 Bait是一(💍)种黑白(🦇)，手(shǒu )(🈸)工(➡)制作，16毫米胶片(piàn )制作的(🌼)电影。许多关于鱼、网、龙虾、(🤔)长(📧)靴、绳结和渔篮的特写(🥤)镜头让人想起了蒙(🏃)太(tài )奇景点(diǎn )的理(lǐ )论。对(👄)不同社会阶(jiē )层的描(🌸)述(shù )——可以说是阶级关系——也让人想起了英(⏺)国电(🧘)影(💅)中的社会现实主义(😉)传统(🚩)。然而，最(💁)重要的(de )是，在(zài )影(yǐng )(🐈)像(xiàng )中(zhōng )(🍯)不(🔍)同(🌲)层(céng )次(🈂)的电影(🐱)历史参(👼)考文献之下(xià )，当前(🙅)许多政(zhèng )治关(guān )联正在等待被(bèi )(🔍)发现(xiàn )。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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