剧情简介
康沃尔(ěr )(🍅)渔村的风景(⛲)明信(xìn )(🐽)片田园(📒)诗误导了人们(men )。虽(suī )(😘)然(🕟)过去钓鱼是一(yī )种(🍥)养家糊(hú )口的方式，但如(rú )今富(fù )有的伦敦(dūn )游客纷(📿)纷下山，取代了(le )当(dāng )地人，当地人的(🐿)生(shēng )计因此受到威胁。史蒂文和(💆)马丁兄(xiōng )弟的关系也(🐖)很紧(🛺)张(📞)。马丁是一个(gè )没有船(😻)的渔夫(fū )，因为史蒂(dì )文开始用它来为一整天的游客(kè )提供更赚钱的(de )旅游。他们卖掉了这座家庭(🗞)别墅，现(xiàn )在看来，最后(hòu )一(yī )场(chǎng )战(zhàn )斗(dòu )是和(💪)新(⛓)主人在海边的停(🤷)车位上展(🚻)开。然(rán )(⛳)而(ér )，情况(kuàng )很快就失控了(le )，而不(🧣)仅(jǐn )仅(jǐn )是因为车轮(🤘)夹(🈁)钳。 (💔)Bait是一种黑(🐾)白，手工制作(zuò )，16毫米胶(jiāo )片制(🌪)作的(🌼)电(diàn )影。许多关(😝)于(yú )鱼、网(wǎng )、龙虾、长靴、绳结和渔篮的(💏)特写镜(jìng )头让(ràng )人想起了蒙(🏃)太奇景点的理(lǐ )论。对(👄)不同社会(🔫)阶层的描(miáo )述——可以说(🍁)是阶级(🕕)关系(👗)——也让人想起(👚)了英国(guó )电影中的(❓)社(shè )会现实(💑)主(zhǔ )(🎴)义传(🚤)统(🚩)。然而，最(💁)重要的(de )是，在影像中不同层次(cì )的电影历史(shǐ )参(cān )考文献之下，当(dāng )(🈸)前(qián )许(🛃)多政(zhèng )治关联正在(🐇)等(♊)待(👆)被(bèi )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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