剧情简介
康沃尔渔村的风景明信(🐽)片(🥇)田园(yuán )诗误导了人们(men )(🃏)。虽然(🕟)过去钓鱼是一种(🍥)养家(jiā )糊口(kǒu )的方式(shì )，但如今富有的伦敦(dūn )游(😧)客纷纷(fēn )(🌫)下山，取代(❣)了当(🏇)地人，当地人的生计(jì )因此受到威胁。史(🕯)蒂文和马丁兄弟(dì )的关系也很紧张(zhāng )。马(mǎ )丁是一(yī )个(gè )没有船(😻)的(de )(🚸)渔夫，因为史蒂(dì )(😱)文(wén )开(🤷)始用它来为一整(🧚)天的游客提(tí )(📯)供更(🛑)赚钱的旅游。他们卖掉了(le )这(🥎)座(zuò )家(💻)庭别墅(shù )，现(xiàn )在(zài )看来，最(🤸)后一场战斗(🙀)是(shì )和新主人在海(🍄)边的停车(👃)位上(🔔)展开(kāi )。然而，情(👺)况很快(kuài )就失控了(le )，而(🚴)不仅(jǐn )(🤖)仅(⚾)是(shì )因(yīn )(🌮)为车轮夹钳(❕)。 Bait是一种(zhǒng )(🚗)黑白，手工制作，16毫米(mǐ )胶片(piàn )制(zhì )作的电影。许多(💯)关于(🔈)鱼(yú )、(🙎)网、龙(🐡)虾(🈺)、长靴、绳结和渔篮的特写镜头让(♌)人(rén )想起(🐞)了蒙太奇景点的理论(lùn )。对不同社会阶层的(de )(🚡)描述——(🏓)可以(🎐)说(shuō )是阶(👛)级关系——也(yě )让(ràng )人想起了英国电影(yǐng )中(🤼)的社会现实(💑)主义传统。然而(ér )，最(zuì )重要(yào )(⏺)的是(shì )，在(zài )影像中不同层次的电(diàn )(🐌)影历史参考文献之下，当前(qián )许多(🛌)政治关联正在(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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剧情片周榜单
