剧情简介
康沃尔渔(yú )(🌠)村(cūn )(👷)的(de )风景明信片(🥇)田园诗误导了人(rén )们(men )。虽然过去(🛍)钓鱼是一种养家(🔧)糊口的方式，但(dàn )如今富有的(de )伦(🥩)敦(dūn )游(😧)客纷纷下(👋)山，取代(❣)了当地人，当地人的生计因此(🎩)受到威胁。史蒂文(wén )(🙍)和马丁兄弟的关系也很紧张。马丁是一个没有船的(de )渔夫，因为史蒂文(🐖)开始(🔊)用它来为一(yī )整(zhěng )天的(🔩)游(🥁)客提(📯)供更(🛑)赚钱(qián )的旅(🔢)游。他(tā )们卖掉(🌊)了这(zhè )座家(💻)庭(tíng )别(🙂)墅，现在(🐑)看来，最后一(yī )场战(👓)斗是和(hé )新(⛓)主(🎾)人在海边(⛏)的停车(chē )位上展开。然(⛳)而，情况很快就(🎋)失控了，而不仅仅是(shì )因为车(🗳)轮夹钳。 Bait是(🛎)一种黑白(bái )，手工制作，16毫米(mǐ )胶片制作的电(diàn )影。许(🐩)多关于(🔈)鱼(🏒)、网(💿)、龙(lóng )虾(xiā )、长靴(🔍)、绳结(jié )和渔篮的特(tè )写镜头让(♌)人想起了(le )蒙太(tài )奇景(🚲)点的理论(🔙)。对不(🐖)同社会阶(jiē )(💣)层的(de )描(🌸)述—(⏳)—(🏓)可(kě )以说是阶级关(guān )系(xì )—(🎦)—也让人(rén )想起了英国电影中(🤼)的社(shè )会(huì )现实主义传(chuán )统。然而(ér )，最重要(yào )(⏺)的是，在(zài )影像中不同层(céng )次的电(diàn )影(yǐng )历(🖱)史参考(😲)文献之下，当前许多政(zhèng )治关联(lián )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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