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康沃尔渔村的风(📼)景明信(🐌)片田园(🌰)诗误(wù )导了人们(men )。虽然(rán )过去钓鱼是一种养家糊口的方(🔬)式(🏴)，但(dàn )如(rú )今富有(yǒu )(🎾)的伦(🌫)敦游客纷纷(fēn )下山(🏇)，取代了(le )当地(⚫)人，当地人的(🤷)生计(🛍)因此受到威胁。史蒂文(🛹)和马丁(dīng )兄弟的(🛺)关系(xì )也很(hěn )紧张。马(✖)丁是一个没有船的渔夫，因为(🔊)史蒂(⏺)文(🚢)开始用它来为一整天的(de )游客提供更赚钱(qián )的旅(lǚ )游(yóu )。他(🥎)们卖(💻)掉(diào )了这座家(✋)庭别墅，现在看(🙄)来(lái )，最(zuì )后一(💪)场战(zhàn )斗是(shì )(🈴)和(hé )新主(zhǔ )人在(zài )海(hǎi )边(biān )的(de )(🚻)停(🤲)车位上(😍)展开。然而(ér )(🤳)，情况很(hěn )快就失控了(⚾)，而不仅仅(🤘)是因为(💝)车轮(lún )(💔)夹(jiá )钳(🥊)。
Bait是(shì )一种黑白，手(shǒu )工制作，16毫(háo )米(mǐ )胶片制作的(💿)电(🎥)影。许多关于鱼、网、龙(lóng )虾、长靴、绳结和渔篮的特写镜头(📐)让人想起了蒙太奇(qí )景点的理论。对(duì )不同(tóng )社会(🍁)阶层的描(😳)述—(🎦)—可以(🍺)说是阶级关(guān )系——也让人想起了(💑)英国电影(yǐng )中(🍹)的社会(❄)现实主义传统。然(rán )而，最重要的是(shì )，在影(yǐng )像中(zhōng )不同层次的电影历(🙅)史参考文(wén )献(🎞)之(🚓)下，当(dāng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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