剧情简介
康沃尔渔村的(de )风景明信片田园(yuán )诗误导(🍩)了人们。虽然(rán )过去钓(🔱)鱼是(shì )一种养家(jiā )(🔧)糊口(kǒu )的方式，但如今富有的伦敦游(😧)客纷(fēn )纷下(👋)山，取代(dài )了当地(dì )人，当地(🖲)人的(🐿)生计因此(🎩)受到威胁。史蒂(dì )(👁)文和(hé )(💆)马丁兄(xiōng )弟的关系也很紧张。马丁是一个(🍮)没有船(😻)的渔(yú )夫，因(🥀)为史蒂(dì )(😱)文开始(🔊)用它来(🚢)为(wéi )一整天的游(🥁)客(kè )提供更赚(⏯)钱(😞)的旅游。他(🦗)们(men )(🌑)卖掉(diào )了这座(🥔)家庭(tíng )别墅，现(xiàn )(✋)在看来，最后一(yī )(🙄)场战斗是和(hé )(💪)新主人在(🈴)海边的(🥫)停车(👃)位上展(🚻)开。然而(ér )，情况很快就(jiù )失控了，而不仅仅是因为车轮(lún )夹钳。 Bait是一种(zhǒng )黑(🐾)白(🦇)，手工制作(🐛)，16毫米胶片制作的电(diàn )影(💹)。许多关(guān )于鱼、网、(🎥)龙虾、长(📧)靴、绳结和渔篮的(de )特(tè )写镜头让人想(xiǎng )起了蒙太奇景点的(de )理论(🔙)。对不同社会阶层的描述——(🏓)可以说是阶级(jí )关(guān )系——也(yě )让人(rén )(🔪)想(xiǎng )起了(le )英国电(🧘)影中(🤼)的(❓)社会现实(shí )主义(yì )传统(🚩)。然而，最重(chóng )要的是，在影像中不同层(💕)次的电(🐌)影历史参(👼)考文(wén )献之(zhī )下，当(🈸)前许(xǔ )多(🛌)政治关(guān )联正在等待(dài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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