剧情简介
康沃(wò )尔渔村的风(fēng )(🆓)景明信片田园诗误(🐌)导了人们。虽然过(guò )去(qù )钓鱼是(🤢)一(yī )种(🍥)养(yǎng )家糊口的方式，但如今富有的(🐮)伦敦游(😧)客纷(📿)纷下(👋)山，取代了当(dāng )(🏇)地人，当地人的生计(🔸)因此受到威(🛍)胁(xié )。史蒂(👁)文和马丁兄弟(🛹)的(de )(🚉)关(guān )系也很(🕌)紧张。马(mǎ )丁(🥞)是一个没(méi )有船(😻)的渔(yú )夫(fū )，因(yīn )为史(shǐ )蒂文开(kāi )始(🔊)用(yòng )它来为一整(🧚)天的游客(kè )提供更(gèng )赚钱的旅(lǚ )游。他(tā )们卖(mài )掉了这座家庭(tíng )(🗞)别墅，现在(zài )看来，最后一场战斗是(🙉)和新主(zhǔ )人在海边的停车(chē )(👃)位上(shàng )展开。然(⛳)而，情况很(🏯)快就(🎋)失控了(🐀)，而不仅仅(⚾)是因(yīn )为(👣)车轮夹钳。 (💹) Bait是一种黑(hēi )白，手工制作，16毫(háo )米(🥋)胶片(🃏)制作(💅)的电(diàn )影。许多关于鱼、网、龙虾(xiā )(🈺)、长(📧)靴、绳结和渔篮的(de )特写镜(🔷)头让人(💸)想起了蒙太(tài )奇景点的理(lǐ )论。对不同社(shè )会阶层的描述——可以(yǐ )说(🍁)是阶级关(guān )系——也让人想起(qǐ )了(le )(🛃)英国(👩)电影中的社会现实主义(😉)传(chuán )统(tǒng )。然而，最重(chóng )要(⏺)的是(🔮)，在(🈳)影像(xiàng )中不同层次的(🚪)电影历(lì )史参考(😲)文献(xiàn )之下，当(🈸)前(qián )许(xǔ )多政治(🕵)关联正在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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