剧情简介
康沃尔渔村(👷)的风(🆓)景明(míng )信(🐽)片(piàn )田园诗(🏽)误(wù )导了人(rén )们。虽然过(🕸)去钓鱼是(🤢)一(yī )(🤴)种养家(jiā )糊口(kǒu )的方(🥈)式，但(dàn )如(rú )今富有(🗼)的伦敦游客纷纷下山，取代了(🌗)当地人，当地人的生计(jì )因此受(🤷)到威胁。史蒂文和马丁(dīng )(🔲)兄弟(dì )的关(guān )系也很紧张。马丁(🥞)是一个没有船的渔夫，因为史蒂(dì )文(🐖)开(kāi )始用(💞)它来(🚢)为(wéi )一(📎)整天的(🔩)游客提(📯)供更赚钱的(🖲)旅游。他们卖掉了(le )这(🥎)座(zuò )家庭(tíng )(🗞)别(🙂)墅，现在看来(lái )(🙌)，最后一场战斗(🙀)是和新主人在海边(biān )的停(🤷)车位上(shàng )展开。然(rán )而(ér )，情(👺)况很快就(🎋)失控(kòng )(🕐)了(le )，而不(bú )仅(🤖)仅是因为车轮夹钳。 Bait是一种黑白，手工(gōng )(➡)制(🏻)作，16毫米(mǐ )胶片制作的电影。许多关于(🔈)鱼(yú )、网、龙虾、(🤔)长靴、绳结和渔(yú )(🔤)篮的(de )特(tè )写(🥤)镜头(👵)让(♌)人想(xiǎng )(🥅)起了(🍽)蒙太(🔞)奇景点的(🔎)理论。对不(🐖)同(tóng )社会阶层的描述——可以说(shuō )是阶级关系——也让(ràng )人(rén )想起了英国电影中的社(📬)会现实主义(😉)传统。然而，最重(chóng )要的是(shì )，在影(yǐng )像(xiàng )中不同(🌲)层次(cì )(🈂)的(de )电影历(lì )史参(👼)考文献之下，当前许多政(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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