剧情简介
康(kāng )沃尔渔村(cūn )的风景明信(xìn )片田园诗误(wù )导了(le )(🔼)人(🌰)们(men )。虽然(rán )过去钓鱼是一种养家糊口的(de )方式，但如今富(fù )有(🗼)的伦(lún )敦(dūn )游客纷纷下山，取代了当(🏇)地人，当(🚤)地人的生(shēng )计因此受(shòu )到威胁。史蒂(dì )(👁)文(wén )和马丁兄弟(🛹)的关系(🚥)也很(🕌)紧张(zhāng )。马丁(dīng )是一个没有船(chuán )的(🚸)渔夫(🚑)，因(yīn )为史(🤯)蒂(😱)文开始用它来为(wéi )(🌙)一整天(tiān )的游客提供(🚨)更赚钱的旅(lǚ )游。他们卖掉了(le )这座家(💻)庭别(🙂)墅(shù )，现(xiàn )在看来，最后一场战斗是和(hé )新(xīn )主人在海边的停(🤷)车(chē )位上展开。然(rán )而，情(👺)况很(hěn )快就(🎋)失控了(le )，而不仅仅是因为车轮夹钳。 Bait是一种黑白，手(shǒu )工制(zhì )作，16毫(👪)米胶片制作的电(🚶)影。许多关(😝)于鱼、网(wǎng )、龙(🐡)虾、长靴、(😙)绳(🤥)结(jié )和渔篮(👌)的特写(🥤)镜头(👵)让(ràng )(♌)人(rén )(💸)想起了(🍽)蒙(🏃)太(tài )奇景点的(🔎)理(lǐ )论。对(duì )不(bú )同社会阶层(🔥)的描述(📞)——(🏓)可以说(🍁)是阶级(jí )关系——也让人(🔪)想起了英国电影中(🤼)的社会(huì )(✖)现实(💑)主义传统。然而，最(💁)重要(⏺)的是，在影像中不同(🌲)层次(🈂)的电影历(lì )史参考文献(⛅)之(zhī )下，当(dāng )前许多政(zhèng )治(zhì )关(🎞)联正在等待(dài )被发(🏗)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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