剧情简介
康(kāng )沃尔渔(🌠)村的风景(jǐng )明信片田(📼)园诗(shī )误导了(le )人们。虽(suī )然过去钓鱼(yú )是一(yī )种(🍥)养(🎺)家糊口的(🆖)方(🥈)式，但如(rú )今富(🏴)有的(de )伦敦游客纷纷(fēn )下山，取代了当地(dì )人，当地人的生(🕔)计因此受到威(🛍)胁。史(shǐ )蒂文(🙍)和马丁兄弟的关(🏐)系也很紧(🛺)张。马丁是一个(gè )没(méi )有(yǒu )船的渔(yú )夫，因为(wéi )史蒂文开始用它(tā )来为一整天的游(🥁)客提供更(gèng )赚钱(😞)的旅游。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 )(💪)新主人在海边的(de )停车位上(shàng )展开。然(⛳)而，情(qíng )况(⛳)很快就失控了，而(🚴)不(🧣)仅仅是因为(wéi )(👣)车轮(lún )夹钳(qián )。 Bait是(🛎)一种黑白，手工制(🏻)作，16毫米胶片(🃏)制作(💅)的(🌼)电(🚶)影。许多关于(yú )鱼、网、龙虾、长靴、绳(🤥)结和渔篮的特写镜头让人(💸)想起了蒙(🏃)太奇景点(📐)的理论。对(👄)不同(tóng )社会阶层的描(miáo )述(shù )(📞)——可以(🎐)说(🍁)是阶级关系——也(🚻)让人想起(qǐ )了英国电影中的(de )(❓)社(shè )(📬)会现实主义传(🚤)统。然(⛴)而(🏸)，最重要(yào )的(de )是，在影(yǐng )像中不同层(céng )次的电影(yǐng )(🐱)历史参考文献之下，当前(qián )许(🛃)多(🛌)政(zhèng )治关联正(📯)在等(děng )待被(bèi )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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