剧情简介
康(🈯)沃(wò )尔渔村(👷)的(🔨)风(fēng )景明信片(piàn )田园诗误导了人(rén )们。虽(😘)然过去钓(diào )鱼(🕰)是一种养家糊口(🎹)的方式，但如(rú )(🍖)今(jīn )富(🏴)有(🗼)的伦(lún )(🥩)敦游(😧)客(🎾)纷纷下(👋)山(shān )(⏬)，取代了当地人，当地人的(de )生(shēng )计因此(🎩)受到(dào )威胁(🎡)。史蒂文(wén )和(hé )马丁(dīng )兄弟(🛹)的关系也很紧张。马丁是一(yī )个(🍮)没有船的渔夫，因为(wéi )史(shǐ )蒂(😱)文开始用它来为一整天的(de )游客提(tí )供更赚钱(qián )的旅(🔢)游(yóu )。他们(men )卖(🎛)掉了这(zhè )座(zuò )家(jiā )庭别(bié )(🙂)墅，现在看来，最(zuì )(🤸)后一场战斗是和新主人在海边的停(🤷)车位上展开。然而，情况很快就失(🥕)控了，而不仅仅(⚾)是因为车轮夹钳(❕)。 (💹) Bait是(🛎)一(yī )种黑白，手(shǒu )工制作，16毫米(🥋)胶片制作的(🌼)电影。许(🐩)多(duō )关(😝)于鱼、网、龙虾(xiā )、(🤔)长靴、绳(🤥)结和(hé )渔篮的特写(🥤)镜头让人想起(qǐ )了蒙太奇(🏴)景点的理论。对(duì )不同社(shè )会阶(💣)层的描述(📞)——可(🚽)以说是阶级关系——也让人想起了(le )英(⏺)国电影中(🤼)的(de )(❓)社会现实(shí )主义(yì )(😉)传(🚤)统(tǒng )。然而，最重要(yào )(⏺)的是，在影像中(zhōng )不同层次(cì )的电(🐌)影历史参考文献之(zhī )下(xià )，当前许多政(zhèng )治关联正在等待被发现。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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