剧情简介
康沃(🕕)尔渔村的风(fēng )景明(✒)信(xìn )片田园诗误导(🍩)了(le )人们。虽(suī )然过(guò )去钓鱼(🕰)是一种(zhǒng )养家糊(🎗)口的(de )方式，但如今(🔬)富有的伦(🥩)敦游客纷(fēn )(📿)纷下山，取代了当地人，当地人的生计(🔸)因此受到威胁(🎡)。史(🕯)蒂文(wén )和马丁兄(🥄)弟的关系也很紧(🛺)张(zhāng )。马丁是(shì )一个没有船的渔(yú )夫，因(🥀)为史蒂(dì )文(wén )开始(🔊)用它来(lái )为(wéi )(🌙)一整(zhěng )天的(🔩)游客提供更(🛑)赚钱(qián )的(🖲)旅(🔢)游。他们卖(mài )(🎛)掉了这座家庭(tíng )(🗞)别墅(📙)，现在看(🏂)来，最(zuì )后一场(chǎng )战斗是(shì )和新主人在(🈴)海边的停车(chē )位上展开。然而，情(👺)况很(🏯)快就失控了，而不仅仅是因为车轮(🤘)夹钳。 Bait是一种(🚗)黑白，手工制作，16毫米胶片制作的电影(💹)。许多关于鱼、(🙎)网、龙虾、(🤔)长靴、绳(🤥)结和渔篮的(de )特(📸)写镜头让(ràng )人想(xiǎng )起了蒙(méng )太(🔞)奇(qí )景点(diǎn )的理(🌂)论。对(duì )不同社会阶层的描述—(⏳)—可以(🎐)说是阶级关(😳)系(xì )——也让人想起(qǐ )了英国(guó )电(🧘)影中的社会现(🕺)实(shí )主义传统。然而，最重要的(de )是(🔮)，在影(🐈)像(xiàng )中不(🔍)同层次(cì )的电影(yǐng )历(lì )史参(cān )考文(🐅)献(⛅)之(zhī )下(✒)，当前许多(duō )政(🍾)治关联正在等待(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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