剧情简介
康沃尔(ěr )渔村的(de )风景明(✒)信片田园(yuán )诗误导了人们(🃏)。虽(suī )然过去(qù )钓鱼(🕰)是一种养家(🔧)糊(🎗)口的(🆖)方式，但如今富有的伦(lún )敦游(yóu )客纷纷(fēn )下山，取(qǔ )代了当地人(📼)，当(🚤)地(dì )人的生计因(👑)此(🎩)受(shòu )到威胁(🎡)。史蒂文(wén )和马丁(🔲)兄弟的关系(xì )也很紧张。马(🎫)丁是一个(🍮)没(méi )有船的(🚸)渔夫，因为史蒂文开始(🔊)用(💞)它来为一整天的(de )游(🥁)客(🌚)提(📯)供更赚(zuàn )(⏯)钱的旅(🔢)游。他们卖(mài )掉(diào )(🌊)了(㊗)这(🥎)座家庭(tíng )别墅，现在看来，最后一场(chǎng )(㊙)战斗是和新(⛓)主人在海边的(de )(🥫)停车位上展(🚻)开。然而，情(👺)况(kuàng )很快(🤳)就失控(kòng )了(🐀)，而不仅仅(jǐn )是因为车轮(🤘)夹钳。 Bait是一种黑(🐾)白(bái )，手工制作，16毫(háo )米胶片制作的电(🚶)影。许(xǔ )多(duō )关于鱼、网、龙(lóng )虾(🈺)、长靴(xuē )、(😙)绳结和渔篮的特写镜头让(♌)人想起(qǐ )了(le )蒙太奇(qí )景点(diǎn )的理(lǐ )(🌂)论。对不(bú )同社(shè )(🖍)会阶层的(de )描(miáo )述(shù )——可以说(shuō )是(shì )阶级关系——也(🚻)让人想起了英国电影中的社会现实主义传(🚤)统。然而，最重要的是，在影像中不同层(céng )次的电(🐌)影历史参考文(wén )献(⛅)之(zhī )下，当前许多(duō )政治(🕵)关联(lián )(🚓)正在(zài )等(děng )(♊)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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