剧情介绍
康(kāng )沃尔渔村的(✒)风景明信(xìn )片田(🐌)园诗误(wù )导了(le )(🕋)人(rén )(😘)们。虽(🛍)然过去钓鱼是一种养家糊(🥈)口的(de )方式，但如(🗼)今富有的伦(lún )敦游客纷(fēn )纷(fēn )(🎲)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(🔲)和马丁兄弟的(🐖)关系也很紧张。马(mǎ )丁是一个没有(🖍)船的渔夫(fū )，因为史蒂文开(⏺)始用它来为一(yī )整天的游客(kè )(🛑)提供(😞)更赚钱的(de )旅游。他们卖掉了这(zhè )座家庭(tíng )(🔝)别墅，现在看(🤸)来(🌞)，最后一场战斗是(shì )和新主(🍄)人在海(hǎi )边的(🧤)停车(chē )位上展开。然而，情(qíng )(🤳)况很快(kuài )(🕐)就失控了，而不仅仅是因为(🈁)车轮夹钳(qián )。Bait是一种黑(hēi )白，手工制作(zuò )，16毫米(🤷)胶片制作的电影(📟)。许(💯)多(😝)关(guān )于鱼(🙎)、网、龙虾、长靴(xuē )(😙)、绳结和(🔤)渔篮的(de )特写(🔷)镜头让人(rén )想起了(le )蒙太奇(🚲)景点(diǎn )的(de )理论。对(duì )不同社会阶层的描述—(🏓)—可以说(🔲)是(shì )阶(jiē )(🕕)级关(👗)系——也(🍺)让人想起了英国电影中的社会现实主义传统。然而(ér )，最重(chóng )要的(🔮)是，在影像(xiàng )中不同层次(🚪)的电影历史参(😲)考文献之下，当前许多政治(🎞)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.