剧情简介
康沃(wò )尔渔村(cūn )的风(fēng )景明(✒)信片田园诗(shī )(🏽)误导了(🔼)人们(🃏)。虽然过去钓鱼(🕰)是一种养家(jiā )糊(🎗)口(🎹)的(de )方式，但(dàn )如今富有的(🐮)伦敦游客纷纷下山，取代了当地人，当(dāng )地人(rén )的生(🕔)计因(yīn )此(🎩)受到威胁。史蒂文和马(✳)丁兄(xiōng )弟的关系也(yě )很(🕌)紧(🛺)张。马丁(🥞)是一个没有船的渔夫，因为史(🤯)蒂文(wén )(🐖)开(kāi )(🤷)始用它(⏺)来(lái )为一(yī )整(🧚)天的游客(🌚)提(tí )供更赚钱的(de )旅(🔢)游。他们卖掉了这座家庭别墅，现在看来，最后一场战斗是和新主(zhǔ )人(rén )在海边(⛏)的(🥫)停(tíng )车位(🧤)上展开。然而，情况很快就(jiù )失控了(le )，而(ér )不仅仅是(🕯)因为车(🗳)轮夹钳(qián )。 (💹) Bait是(shì )一种黑白，手(🈸)工制(zhì )作，16毫米(mǐ )胶片(piàn )制作的电(🚶)影。许(xǔ )多(💯)关于鱼(🏒)、网、龙虾、长靴、绳结(jié )和渔篮的特写镜(🔷)头让人(💸)想起(🐞)了蒙太奇景点的(🔎)理(lǐ )论(lùn )。对不同社会(huì )阶层的描述——可(kě )以说是(shì )(🔲)阶(jiē )级关系—(🎦)—也让人想(xiǎng )起了(🛃)英国电(🧘)影中的社会(✖)现(🕺)实主(zhǔ )义传统。然而，最重要的(de )是，在影(yǐng )像中不同层次的电影(🐱)历(lì )(🖱)史(shǐ )参(👼)考文献(⛅)之(🏡)下(✒)，当前许(🛃)多政(zhèng )治(zhì )关联正在等待(dài )(👆)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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