剧情介绍
康沃(wò )尔渔村的风景明信片(🏽)田园诗(🔼)误导了(🕋)人们。虽然(rán )(🔱)过去钓(diào )鱼是一种(zhǒng )养家糊口的(de )方式，但如今富有(yǒu )的伦敦游(yóu )客纷纷下山，取代了当地(dì )人，当(dāng )地人的生(🎩)计因此受到威胁。史蒂(✳)文和马(mǎ )丁兄弟(🚥)的(de )关系(🛺)也很(hěn )紧张(🥞)。马(😚)丁(dīng )(🍮)是一(yī )个没有船的渔夫(fū )，因为(🐖)史(🤷)蒂文开始用它(📎)来为一整天的游(yóu )客提(tí )(⏯)供更赚钱的旅游。他们卖(mài )(🥎)掉了这座(zuò )家庭别墅(shù )，现在(🤠)看来，最(zuì )后一场(🙉)战斗是(🎾)和(hé )新主(zhǔ )人在海边的停车位上展(⛳)开。然(👺)而(ér )(⛳)，情况很快就(🐀)失控(🚴)了(🧣)，而不(bú )仅仅是因为车(❕)轮夹(💹)钳。Bait是一种黑白，手工制(🐛)作，16毫米胶片制作的(de )电(💹)影。许多关于鱼(🙎)、网(🎥)、龙虾、长靴、绳结和渔(yú )篮(💏)的特(tè )写镜(jìng )头(tóu )(♌)让人想起了蒙太奇(qí )景(📐)点的理论(lùn )。对(🐖)不同(🖍)社(shè )会阶层(céng )的描述——可以说(shuō )是阶级关(guān )(👗)系——也(yě )让人想起了英国电影中的(📬)社(✖)会(🕺)现实(🎴)主义传统。然(🏸)而(ér )，最(🈺)重要的(de )是，在影像中(🔍)不同层次(🚪)的(de )电影(yǐng )历史参(😲)考文献之下，当(dāng )前许多政治关联正在(♊)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.