剧情简介
康沃(wò )尔(⛲)渔村(🐽)的风景明信(🐌)片(piàn )田(🔼)园诗(shī )误导了人(🕸)们。虽然过去钓(🎺)鱼(🔧)是一种养家糊口(kǒu )的方式，但如今富有的(de )伦敦(👋)游客纷纷(❣)下山，取代(😎)了当(🖲)地(⚫)人，当地人的生计因此(cǐ )受到威(🙍)胁。史蒂文(wén )和马丁兄弟的关系(xì )也(🎫)很(🥞)紧(🗑)张。马丁是一个(🖍)没有船的渔夫，因为史(💞)蒂(⏺)文开始用(yòng )它来(lái )(🔩)为(wéi )一(yī )整天的游(yóu )客提(🖲)供(🔢)更赚钱(qián )的(de )旅游。他们卖掉了这(zhè )座家(✋)庭别墅(shù )，现在看来(lái )，最(zuì )后一场战(zhàn )斗是和新主(🥫)人(🤷)在(zài )海边的(🚻)停(tíng )车位上展开。然而，情况很快(🧟)就失(shī )控(🤖)了，而不仅仅是因为车(chē )轮夹(🏉)钳。
(😊)Bait是(shì )一种(🐨)黑白，手工制(zhì )作，16毫米胶(😝)片(piàn )制作的(de )电影。许(🤔)多关于(😙)鱼、网、龙虾、长(🥤)靴(xuē )、绳结和渔篮的特写(xiě )镜(jìng )头让人(🌂)想起(qǐ )了蒙太奇景点(💣)的理论。对(duì )不同社(🎐)会阶层的描述(shù )——可以说(🔪)是(shì )阶(👚)级(🛃)关系(xì )——也(yě )(🤼)让人想(xiǎng )起了英国(guó )电影中的(⛴)社会现实主义(yì )传(chuán )统。然而，最重要(💕)的是，在影像(💛)中不(bú )同层次的电影(yǐng )(🈸)历史(🛃)参(cān )考(🍾)文(wén )献之下，当前许多政治(zhì )关(guān )联正在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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