剧情简介
康(kāng )沃尔渔村(👷)的(de )风景明信(🐽)片田(tián )园(📒)诗(🏽)误导了人们。虽(😘)然过去钓鱼是一种养家糊(🎗)口的方式(shì )，但(🌰)如今富有(🗼)的(de )(🐮)伦敦游客纷(📿)纷下山(shān )，取代了当地人，当(🚤)地(dì )人的(🐿)生计因(👑)此(cǐ )受到(dào )威(wēi )胁。史蒂文和马丁兄弟的关系(xì )也很(hěn )(🕌)紧张。马丁是一(yī )个没(méi )有(yǒu )船(chuán )的渔夫，因为史蒂文(wén )开始用它来为一整(zhěng )(🧚)天的游客提(tí )(📯)供更赚钱的旅(lǚ )游。他们卖掉了这(zhè )(🥎)座家庭别墅(📙)，现在(🐑)看(🏂)来，最后一(yī )场战斗是(🙉)和新主人在(zài )海边的停车位(🧤)上(shàng )展(zhǎn )(🚻)开(🤲)。然而，情况(kuàng )很快就失控了，而不(🧣)仅(jǐn )仅是(🕯)因为(wéi )车轮夹钳。 Bait是一种黑白(🦇)，手工制作(🐛)，16毫米胶片制作的电影。许多关于鱼(🏒)、网、龙虾(xiā )、长靴(🔍)、绳结(jié )和(📛)渔篮的特(tè )写(xiě )镜头让人想起(qǐ )了(🍽)蒙太奇(🏴)景点的理(🌂)论(🔙)。对(duì )(👄)不同社会阶(jiē )(💣)层的(de )描述——(🏓)可以说是阶(👛)级关系——也让人想起了英国(👩)电影(yǐng )中的社(shè )(📬)会现实主义(😉)传统。然而(ér )，最重要的是，在影像(xiàng )中不(🔍)同(🌲)层次(cì )的电影历(🖱)史参(cān )考文(wén )献之下，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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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