剧情简介
康沃尔渔(yú )村(👷)的(de )(🔨)风景(jǐng )明(míng )信(🐽)片田园诗(shī )误(🐌)导了人(🌰)们(men )(🃏)。虽然(🕟)过去钓鱼是(🤢)一种养家(jiā )(🔧)糊口(🎹)的方式(🐉)，但如今富有的伦(lún )敦游客纷纷下山，取(qǔ )代了当地人，当地人的生计(jì )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(shì )一个没(✖)有船(chuán )的(🚸)渔夫，因(🥀)为史蒂文开始用它来为一整天的游(yóu )客提供(gòng )更(gèng )(🛑)赚钱的旅游。他(🦗)们卖(🎛)掉(🌊)了这(🥎)座家庭(tíng )别墅，现在看来，最后一场战(👓)斗是和(hé )新主(zhǔ )人(rén )在(🈴)海边的停车位(🧤)上(shàng )展(🚻)开(🤲)。然而，情况很(hěn )快就(🎋)失控了，而不仅(🤖)仅是因为车轮夹钳。 (💹) Bait是(shì )一种黑白，手工(gōng )制作(zuò )，16毫(👪)米胶片制作(zuò )的(🌼)电影。许多关(guān )于(yú )鱼(🏒)、网、龙虾(🈺)、长靴、绳结和渔篮的特写(🥤)镜头让人想起了蒙(méng )太奇景(jǐng )点的(de )理(lǐ )(🌂)论(lùn )。对(duì )不同社会阶层的(🚡)描述(📞)——可以说是阶级关(😳)系—(🎦)—也让人想(🐂)起了英国电(🧘)影中的社会现(🕺)实(💑)主(zhǔ )义传统(tǒng )。然而，最重要(⏺)的是，在影(yǐng )像中(zhōng )不同层次的电影(yǐng )历(lì )(🖱)史参考文献之(🏡)下，当(dāng )前许(xǔ )多政治关联正(zhèng )在等(děng )待被发现(xiàn )。 (🐣)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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