剧情简介
康(kāng )沃(wò )尔渔(🌠)村的风(fēng )景明信片(🥇)田园诗误(🐌)导了人们。虽然过去钓(diào )鱼(yú )是一种养家(🔧)糊(🎗)口的(de )方式(🐉)，但如今富(fù )有的伦(lún )敦游客纷纷下山，取(🎏)代了当地(♑)人，当地人的生计(jì )因此(cǐ )受到(🗄)威胁。史蒂文和马丁兄弟的关(guān )(🏐)系也很(🕌)紧(🛺)张(📞)。马丁是一个(gè )没有船(😻)的渔夫，因为史蒂文开(kāi )始用它来为一整天(🚣)的游客提供更赚(⏯)钱的旅游(yóu )。他们卖掉(diào )(🌊)了这座家庭别墅，现在看来，最后一(yī )场战斗(dòu )是(🙉)和(💪)新主人(⏰)在海边的(🥫)停车位上展(🚻)开。然而，情况(kuàng )很快(🤳)就失控(🕐)了(le )，而不仅仅(⚾)是因为(wéi )车轮夹钳。 (💹) Bait是(🛎)一种(zhǒng )黑白，手工制作，16毫米胶片制作的(🌼)电影(yǐng )。许多(💯)关于鱼、网(💿)、龙(lóng )(🐡)虾、长靴、绳结和(📛)渔(yú )(🔤)篮(lán )的特写镜头(👵)让人想起(🐞)了蒙太奇景点的(de )理(lǐ )论(🔙)。对不同社会阶(jiē )(💣)层的描述—(⏳)—可以说(shuō )是阶(jiē )级关系—(🎦)—也让人(rén )想(🐂)起了(le )英(yīng )国(👩)电影(yǐng )中的社会(huì )现实主(🎴)义传统(tǒng )。然而，最重(chóng )(🈺)要(⏺)的(🧥)是(🔮)，在(🈳)影像中(🍯)不同层次(cì )的电影历史(shǐ )参考文献(xiàn )之(zhī )下(✒)，当前许多政治关联(lián )正在等(děng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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