剧情介绍
康沃尔渔(🆓)村的风景明(📼)信片田园诗(🔼)误(wù )(🌰)导了人(😘)们。虽然过去钓(diào )鱼(yú )(🍥)是一(yī )种养(🎹)家(jiā )糊(hú )口(kǒu )的(🛤)方式，但如今(🐮)富(fù )有的伦敦游客(kè )纷纷下(xià )山，取代了当地人，当地人的生计因此(cǐ )受到威胁。史(💆)蒂文和(🥄)马丁兄(🏐)弟的(🐖)关系也(yě )很紧张。马(mǎ )丁是一个没(🚸)有船的(de )(🐶)渔夫，因为史蒂文(wén )开始用它来(lái )为一整天的游客提(⏯)供更赚钱的(💱)旅(lǚ )(🦗)游(🌑)。他们卖掉了(le )(💻)这(🗞)座家(jiā )庭(tíng )别(bié )墅(🐑)，现在(zài )看来，最后一(yī )场战斗是和新(🈴)主人(rén )(⛏)在海边(👃)的停车位(🤲)上(shàng )展开(kāi )。然而，情况很(hěn )快就(jiù )失控(🚴)了，而不仅仅是因为车轮夹钳。Bait是一种黑白(bái )，手(➡)工制(zhì )作，16毫米胶片制作(zuò )的电影。许(💯)多关于(yú )鱼(yú )、网、龙(🈺)虾、长靴(😙)、绳结和(hé )渔篮的特写(🔷)镜头让人想起了(🏃)蒙(🔞)太(tài )奇景点的(de )理论。对不同社会(💣)阶层的描述——(🚽)可(kě )以说是阶级(😳)关(👗)系(xì )—(📤)—也(yě )让(ràng )人(rén )想起了英(👩)国电影(yǐng )(🤼)中(❓)的社会现(💑)实主义传统。然而，最(zuì )重要的是，在影像中(🔍)不同层次(cì )的电影历史(👼)参考文献之下，当(dāng )前(🛃)许(xǔ )(🛌)多政治(zhì )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.