剧情简介
康沃(🕕)尔渔(🌠)村(👷)的风(fēng )景明信片田(tián )园诗(shī )误导了人(rén )们(men )。虽(suī )然(rán )过去钓(diào )鱼(🕰)是一(🤴)种养家糊(🎗)口(kǒu )的方(🥈)式(shì )(🐉)，但如今(🔬)富有的伦敦游(yóu )客纷纷下山，取(qǔ )(🎏)代了当地人，当地人的生计因(👑)此(cǐ )受到威胁。史(🕯)蒂(👁)文和(hé )马丁兄弟的关系也很(🕌)紧张(zhāng )。马(mǎ )丁是(shì )一(yī )(😚)个没有(yǒu )船(chuán )的渔(🖍)夫，因(🥀)为史蒂文开始用(💞)它来(lái )为一整天的游(yóu )客(🌚)提供更赚钱(qián )的旅游(yóu )。他们(men )卖掉(🌊)了这座家庭别(🙂)墅，现在看来(🙌)，最后一场战斗是(shì )和新主人在海边的停(tíng )车(👃)位上展(🚻)开。然而(ér )，情况很快就失控了(le )，而不仅仅是因为车轮夹钳。 Bait是(🛎)一(💍)种黑(hēi )白，手工(➡)制作，16毫米胶片制作的电(diàn )(🚶)影。许多关于鱼、网、龙虾(🈺)、长靴、绳(🤥)结和渔篮(lán )的特写镜头(tóu )让(ràng )(♌)人(rén )想(🥅)起(qǐ )了蒙太奇景(jǐng )点的理论(🔙)。对不同社会阶层的(🚡)描述(📞)——可以(🎐)说是(shì )阶级关(guān )系(xì )(👗)—(🎦)—也让人想起(qǐ )(👚)了英(⏺)国电影中的(de )社(shè )(📬)会现实主义传统。然而(🏸)，最重(🈺)要的是(shì )，在影像(xiàng )中(🍯)不同层(💕)次(🈂)的电影历史参考文(wén )(🐅)献(xiàn )之(zhī )下，当前许多政(zhèng )治关联正在等(♊)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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