剧情简介
康(kāng )沃尔(ěr )(🍅)渔村的(de )(🔨)风(🆓)景(jǐng )明信片田(📼)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(shì )，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(jì )因(yīn )(👑)此(🎩)受到威胁。史蒂(👁)文和马(mǎ )丁兄(xiōng )弟的关系也很紧(jǐn )张。马(🎫)丁是一个没(méi )有船的渔夫，因(yīn )为(wéi )史蒂文开始(shǐ )用它来为一整天的游客(kè )提供(gòng )更(gèng )赚钱的旅游。他们卖掉了这座家(💻)庭别(bié )墅，现在看来(🙌)，最(🤸)后(🌞)一场(㊙)战斗(dòu )是和新主人在海边(biān )(⛏)的(de )停车位上展开。然而，情况很快就(jiù )失控(kòng )了，而不仅仅是(shì )因(yīn )为(👣)车轮夹钳。 Bait是一种黑白，手工(➡)制作，16毫米胶片(piàn )制(🌪)作(zuò )的电影。许多关于鱼、网、龙(lóng )虾(🈺)、长(📧)靴、绳结和渔(yú )(🔤)篮(👌)的特(tè )写(xiě )镜(🔷)头让人想起了(🍽)蒙太(🔞)奇(🏴)景点的理论(lùn )。对不同社(shè )会阶层的描(miáo )(🌸)述(shù )(📞)—(⏳)—可以(🎐)说是阶级关(guān )系——也(yě )让(🍺)人想起(👚)了英国电影中的(❓)社(shè )会现实(💑)主义传(🚤)统。然而，最重要(yào )的(🧥)是(shì )，在影像中不(🔍)同层次(cì )的电影历(lì )史参考文(🐅)献之下，当前许(xǔ )多(duō )政治关联正在等待(👆)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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