诱饵2019

康沃尔渔村(cūn )的风景明信片田园诗误导了(🔼)人们(men )(🃏)。虽(😘)然过去(qù )钓鱼(yú )是一种养(🎺)家糊口的方式，但如今富有(🗼)的伦敦游客纷纷下山，取(qǔ )代了当地(♑)人(📼)，当地(dì )(🖲)人(⚫)的(de )生计因此(🎩)受到威胁。史蒂文(🙍)和马丁兄弟(🛹)的(🚉)关系也(yě )很紧张。马(mǎ )(🎫)丁是一(yī )个没有(yǒu )船的渔夫，因(🥀)为史(shǐ )蒂文(wén )开始用它(⏺)来(🚢)为(🌙)一(📎)整天(🚣)的游(🥁)客提供更赚钱的旅(lǚ )(🔢)游。他们卖(🎛)掉了这座家庭(tíng )别墅，现在看(🏂)来，最后一场战斗是(🙉)和新(xīn )主人(rén )在海边的停车(chē )位上(shàng )展开(kāi )。然而(😍)，情况很快就失控了(le )，而(🚴)不仅(🤖)仅是因为车轮夹(🈁)钳。　　Bait是(shì )一种黑白，手工制作，16毫米胶(🤷)片制(zhì )作(zuò )的电影。许(xǔ )多关(guān )于鱼、网、(🎥)龙虾、长(📧)靴(xuē )、绳结和(📛)渔篮的(de )特写镜头让(♌)人想起了蒙(🏃)太奇景点的理论。对不同社(shè )(🖍)会阶层的描述(shù )——可以说是(🔲)阶级关(guān )系(xì )——也让人(rén )想起(👚)了英国电(diàn )影中(zhōng )的社会现实主义传(chuán )统。然而(ér )，最重要的是，在影像中不(bú )(🔍)同层(céng )(💕)次(🈂)的(🚪)电(diàn )影历(lì )史参考文献之(🏡)下(✒)，当前(qián )(🙅)许多政治关联(🚓)正(📯)在等待被(bèi )发现(xiàn )(🍉)。　　(🐣)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.……