剧情简介
康(kāng )(🈯)沃(wò )尔渔村(cūn )(👷)的(de )风景明信片田(tián )园诗误导(dǎo )了人们。虽(suī )然过去钓(🔱)鱼是一(yī )(🤴)种养家(🔧)糊(🎗)口的方(🥈)式，但如今富有的伦敦游客纷(fēn )(📿)纷下山，取(🎏)代了当地人，当地人的(🐿)生(🕔)计(🔸)因此受到威(🛍)胁。史蒂(dì )文和马(mǎ )丁兄弟的关系(xì )也(yě )很(🕌)紧张。马丁(dīng )是一(😚)个(gè )没有船的渔夫(fū )，因为(wéi )史蒂文开始用它来为一整天(🚣)的游客提(tí )(📯)供更赚钱(😞)的(🖲)旅(lǚ )游。他们卖掉了这座家庭别墅，现在看(🏂)来，最(🤸)后(hòu )一场战斗(🙀)是和(hé )新(⛓)主(zhǔ )人在海边(⛏)的(de )停车位(wèi )上展开(🤲)。然(⛳)而(ér )，情(qíng )况(kuàng )很快就失控了(le )，而(🚴)不仅仅(jǐn )是因(🌮)为车轮(lún )夹钳。 Bait是一种黑(🐾)白，手工(➡)制(🏻)作(zuò )(🐛)，16毫(👪)米(mǐ )胶(jiāo )片制(🌪)作的(🌼)电(diàn )影。许(🐩)多(duō )关于鱼、网、龙虾、长靴、绳结(jié )和渔(yú )篮的特写镜(jìng )(🔷)头让人想起了蒙太奇景点的理(lǐ )(🌂)论。对不(🐖)同社(shè )会(🔫)阶层的描(🌸)述(shù )—(⏳)—可以(yǐ )说(shuō )是(shì )阶级关系——也(yě )让人想起了英国电影(yǐng )(💅)中的社(shè )会(huì )(✖)现实主义传统。然而，最重要的是(🔮)，在影像(🔬)中不同层次的电影历史参(cān )(👼)考文献之下，当(dāng )前(🙅)许多政(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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