剧情简介
康沃(🕕)尔渔村的风景明(✒)信片田园诗误导(dǎo )(🍩)了人们。虽(😘)然过去钓鱼(🕰)是(shì )一种(🍥)养家糊口的方(🥈)式(shì )，但如今富有的伦(🥩)敦游(yóu )客(🎾)纷纷下山，取代了当(dāng )地人，当地(🖲)人的生计因(yīn )此(🎩)受到威胁。史蒂文(wén )和马丁兄(🥄)弟的关系也很紧张。马丁是一个没有船的(de )渔夫，因(yīn )为(🕕)史蒂文开始用它来(lái )(🚢)为(wéi )一整天的游(🥁)客提(tí )供更赚(⏯)钱(😞)的旅(🔢)游。他们卖掉了这座家庭别墅，现(✋)在看来，最后一场战(👓)斗是(shì )和(hé )新(xīn )主人在海边的停车位(wèi )上展开。然而，情况(kuàng )(⛳)很快(kuài )就失(🥕)控了，而不(🧣)仅仅(jǐn )是(shì )(🕯)因(yīn )为车(🗳)轮夹(jiá )(🈁)钳。 (💹) Bait是一种黑(hēi )白，手(shǒu )工制作(🐛)，16毫(háo )(👪)米胶(jiāo )片(piàn )制作(💅)的电影。许(🐩)多关于(yú )鱼、网、龙(lóng )虾(xiā )、长靴(🔍)、绳结和渔篮(lán )的特写镜头(tóu )让人(rén )想起(qǐ )了蒙(🏃)太奇景点(diǎn )的(de )理论。对不同社(🖍)会阶层的描述——(🏓)可(kě )以说(🍁)是阶级关系(👗)——也让人想起了英(yīng )(⏺)国电(🧘)影中(🤼)的社(📬)会现实主义传(🚤)统。然(rán )而，最重要(⏺)的是(shì )，在影(🐈)像(🔬)中不(bú )(🔍)同层次(cì )的电影历(lì )史参考文献之下，当前许多政(zhèng )治关联正(zhèng )在等(♊)待被(bèi )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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