剧情简介
康沃(🕕)尔渔村的(de )风景明(✒)信片(🥇)田园(📒)诗误导了人们。虽(suī )然过去钓鱼(🕰)是一种养家糊(🎗)口的方(🥈)式(shì )，但如今富(🏴)有的伦敦游客(kè )纷纷下山，取代了(le )当地人，当(🚤)地人的生计因此(🎩)受(🤷)到(dào )(🗄)威胁(🎡)。史蒂文和马(mǎ )丁兄(xiōng )(🥄)弟的(🚉)关系(xì )也(yě )很紧张(📞)。马丁是一个没有船(😻)的渔(yú )(🖍)夫(fū )，因为史蒂(dì )文(wén )开(🤷)始用(💞)它(tā )来(🚢)为一整天的游客提(📯)供更赚钱(😞)的旅游。他们卖掉了这座家庭别墅(shù )，现在(🐑)看来，最后(🌞)一场战(👓)斗是和新主人(rén )在海边的停(tíng )(🤷)车位上展开。然而(ér )，情况很快就(jiù )失控(🕐)了，而不仅仅是(shì )因(🌮)为车轮(lún )夹钳。 (💹) Bait是一种黑白，手工(gōng )制作，16毫(👪)米(mǐ )胶片制作的电影。许多(💯)关(guān )于鱼、网、龙虾、长(zhǎng )靴(xuē )、绳结(⏲)和渔篮的特(📸)写(xiě )镜头(👵)让(♌)人想(🥅)起了蒙太奇景点的理(🌂)论。对不同社会阶层的描述——可(🚽)以说是阶级(jí )关系——也让人想(xiǎng )起了英(yīng )国(guó )电(diàn )影(yǐng )中(🤼)的社(📬)会(✖)现实主义传统(tǒng )。然(rán )而，最(zuì )重要的是，在(zài )影像中不(🔍)同层次的电影历史(shǐ )参(cān )(👼)考文献之(🏡)下(xià )，当前许多政治关联(🚓)正在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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