剧情简介
康(🈯)沃尔渔村的(de )风景(⛲)明(míng )信(xìn )片田园诗误导了人(rén )们(men )。虽然过去钓鱼是一种(zhǒng )养家(jiā )(🔧)糊口的方式，但如(🍖)今(🔬)富(fù )有的(de )伦敦(dūn )游客纷(fēn )(📿)纷(fēn )下山，取代了当地人，当地(🖲)人(rén )的(de )生计(jì )因此受到(dào )(🗄)威胁(xié )(🎡)。史蒂文和马丁兄弟(🛹)的关(🏐)系(🚥)也很紧张(📞)。马(mǎ )丁(dīng )是一个(🍮)没(méi )有船的(de )渔夫，因为史(shǐ )蒂文开始用(yòng )它来为(🌙)一整天(🚣)的(🔩)游客提供(gòng )更赚(zuàn )钱的(de )旅(lǚ )游。他们卖掉(🌊)了这座家庭别墅(📙)，现(xiàn )(✋)在(🐑)看(kàn )来，最后一场战斗是和新主人在(🈴)海边的停车位(wèi )上展开(kāi )。然而(😍)，情(👺)况很(hěn )快就(🎋)失控(kòng )了(le )，而不仅仅是因为车轮夹(🈁)钳。 (💹) Bait是一种黑白，手(shǒu )工制作(zuò )(🐛)，16毫米胶片制作的电影。许多关于鱼(yú )(🏒)、网、龙虾(🈺)、长靴、绳结和渔篮的(de )特写镜(🔷)头让人想(🥅)起(🐞)了(🍽)蒙(méng )太奇(🏴)景点的理论(lùn )。对不(bú )同社会阶层的描(🌸)述——可以说是阶级(🕕)关系——也让人想(🐂)起了(le )英(yīng )国电影中的(de )社会现实主义传统。然而(ér )，最重要(⏺)的是(shì )，在影(yǐng )像(xiàng )中不(🔍)同层(céng )次的(🚪)电影历(🖱)史参考文(🐅)献(⛅)之(🏡)下，当(🈸)前(🙅)许(🛃)多政治关联正在等待被发(🏗)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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