剧情简介
康(🈯)沃尔渔村(cūn )(👷)的风景(⛲)明信片田园(yuán )诗误(wù )导了人(rén )们。虽(😘)然过(🕸)去钓(diào )鱼(yú )(🕰)是(🤢)一种养家糊(🎗)口(kǒu )的(de )方式，但(🌰)如(🍖)今(🔬)富有(🗼)的伦敦游客(kè )纷(fēn )纷下山(⏬)，取代了当地(dì )人，当地人的生计因此受到威胁。史蒂(👁)文和马丁(dīng )兄弟的关(guān )系也(🐖)很紧张。马丁是(shì )一(😚)个(gè )没有船(chuán )的(🚸)渔夫，因(🥀)为(wéi )史蒂文开始用(yòng )它(tā )来为一整天的(de )游客提供更赚钱(qián )的(🖲)旅游。他们(men )卖掉(diào )了(㊗)这座家(jiā )庭别墅，现在看(kàn )来，最(zuì )后一场(chǎng )(㊙)战斗是和新主人在(🈴)海边的停(tíng )车(chē )位上展开(kāi )。然而(😍)，情况(⛳)很(🏯)快就失控了，而不仅仅是因为(👣)车轮夹(🈁)钳(qián )。 Bait是一(yī )种黑白(🦇)，手工制作，16毫米胶(jiāo )片制作的电影。许多关于(yú )鱼、网(💿)、龙虾、长(zhǎng )靴、绳结(⏲)和渔篮的(de )特(📸)写镜头让人(rén )想(xiǎng )起(qǐ )(🐞)了蒙(méng )(🏃)太奇(🏴)景点的理论。对不(bú )同社会(🔫)阶(💣)层的(de )描(miáo )述(📞)——可以说(🍁)是阶级关系——也让(🍺)人想起了英国电(🧘)影(yǐng )中的社会(huì )现实主(🎴)义传(🚤)统。然而，最重要的是(🔮)，在影像中不同(🌲)层(céng )次的(🚪)电(diàn )影历(🖱)史参考(kǎo )文(🐅)献(xiàn )之下，当(🈸)前许多政治关联(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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