剧情简介
康沃尔(ěr )(🍅)渔村(👷)的风(fēng )景明信片田园诗误导了人们。虽然(rán )过去钓鱼是一(yī )种(🍥)养家(jiā )糊(🎗)口的(🆖)方式，但如今富有(yǒu )的(🐮)伦敦游客纷纷下山，取(🎏)代了当地(dì )人，当地人(⚫)的(de )生计因(yīn )此受到威胁。史蒂文和马(mǎ )丁(🔲)兄弟的关(🏐)系也(yě )很(🕌)紧(jǐn )张。马丁是(shì )一个(🍮)没有船的渔夫，因(yīn )为史(shǐ )蒂文开始用(yòng )它来(lái )为一整天的(de )游客提供(gòng )(🚨)更赚钱的旅游。他们卖(mài )掉了这座家庭(🗞)别墅(📙)，现在(zài )看(kàn )来，最后一(🙄)场战斗是和(hé )新主人(rén )在海边(⛏)的(de )停车位上(🔔)展开。然而，情况(kuàng )很(🏯)快(kuài )就失(🥕)控了，而不仅(jǐn )仅是因(yīn )为车轮夹钳。 (💹) Bait是一种黑(🐾)白，手工(gōng )(➡)制作，16毫米胶(jiāo )片制作(💅)的(de )电影。许多关于鱼、(🙎)网、龙虾(🈺)、(🤔)长(zhǎng )靴、绳(🤥)结(⏲)和(📛)渔(yú )篮(👌)的特写镜头让人想(xiǎng )起了(le )蒙太(🔞)奇景点的(de )理论。对(duì )不同社(shè )会阶层的描述—(⏳)—可(🚽)以说(shuō )(🍁)是阶级关系——也让(🍺)人想(xiǎng )起(qǐ )(👚)了英国电影中的社会(huì )现(🕺)实主义传(🚤)统。然而，最(zuì )重(🈺)要(⏺)的是(shì )，在影像(🔬)中不(🔍)同层(💕)次的电(diàn )影历史参考文(🐅)献之(🏡)下，当前许多政治关联(🚓)正在(zài )等(děng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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