剧情简介
康沃尔渔村(cūn )的(de )风景明信片田(📼)园诗误导了人们。虽然过去钓(diào )(🔱)鱼是一种养家糊口的方式，但如今(🔬)富(fù )有的(de )伦(🥩)敦游客纷纷下山，取代了(le )当地人(📼)，当地人的生(🕔)计因此(🎩)受(🤷)到威胁。史蒂文和马丁兄(xiōng )弟(dì )的(de )关系也很(hěn )紧张。马丁(🥞)是一个(gè )(🍮)没(méi )有船的渔夫，因为(🕕)史蒂文开(kāi )始用它(tā )来为(🌙)一整(zhěng )天的(🔩)游客提(tí )供更(🛑)赚钱的旅游。他(tā )们(men )卖掉了这座(zuò )家(💻)庭(🗞)别墅，现(✋)在看(🏂)来(🙌)，最后(🌞)一(yī )场战斗是和新主人(rén )在(zài )海边的(🥫)停车(chē )(👃)位(🧤)上展(🚻)开。然而，情况很快就失控(kòng )(🕐)了(le )(🐀)，而(🚴)不仅仅(jǐn )(⚾)是因为车轮夹(🈁)钳(❕)。 (💔)Bait是(shì )(🛎)一种黑白，手工制作，16毫米胶(🤷)片制作的电影。许多关于鱼、网、龙虾、长靴、绳结和(hé )渔篮的特写镜头让人想起了蒙太奇景点的理(🌂)论。对不(bú )同社会阶(jiē )(💣)层的描(miáo )述(shù )(📞)——可以说是(shì )阶(jiē )级(jí )关系(👗)——也让(🍺)人(rén )想起了(le )英国电(diàn )影中的社(📬)会现实主义传(chuán )统。然而(ér )，最(💁)重(chóng )要(yào )的是(shì )(🔮)，在影(🐈)像中(🍯)不同(tóng )(🌲)层次的电影历(lì )史(shǐ )参(👼)考文(wén )献之(🏡)下，当前许(🛃)多政(🍾)治(zhì )(🕵)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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