剧情简介
康沃尔渔(yú )村的(🔨)风(fēng )景明信(xìn )片(piàn )田园诗误导了人(🌰)们。虽然(rán )过去钓鱼(yú )是一(yī )种(zhǒng )养家糊(hú )口的方式，但如今富(fù )(🏴)有(yǒu )的伦敦游客纷纷(🌫)下(👋)山(shān )，取代了当(🏇)地人，当地(🖲)人的生(shēng )计(🔸)因(yīn )此受(🤷)到威胁。史蒂文(wén )和马丁兄弟的关(🏐)系(xì )也(🐖)很(🕌)紧张。马(mǎ )丁(🥞)是一个没有船(😻)的渔夫(fū )(🚑)，因为史蒂文开(kāi )始用它来为一整(zhěng )天的游(🥁)客(kè )提供(🚨)更赚(zuàn )钱的(🖲)旅(lǚ )游。他(tā )们卖掉了这座家庭别墅(shù )，现在看来(lái )，最后(hòu )(🌞)一场战斗(dòu )(🙀)是和新主人(⏰)在(zài )海边(⛏)的(de )停车位上展开(🤲)。然(rán )而，情况很快就失控(🕐)了，而不(bú )仅仅是因为车(chē )轮夹钳。 Bait是一种黑(hēi )(🐾)白，手工制作，16毫米胶片制作的电(diàn )影。许(🐩)多(duō )(💯)关于鱼、网、龙虾、长靴、绳结(jié )和渔篮的(💏)特写(🥤)镜(🔷)头让人想起了(le )蒙(méng )(🏃)太奇景点的理(lǐ )(🌂)论。对不同社会(huì )阶层的描(🌸)述(shù )——可以说是阶级关系——(📤)也让(ràng )(🍺)人想起了英国电影中(zhōng )的社会(huì )(✖)现实主(🎴)义(😉)传(🚤)统(🚩)。然而，最重要的是，在(🈳)影像中(🍯)不同(tóng )(🌲)层次的电影(yǐng )(🐱)历史参(👼)考(😲)文献之下，当(🈸)前许多政治关联(🚓)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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