剧情简介
康沃尔渔(✒)村(cūn )的风景明(🏽)信(🐌)片田园诗误导(dǎo )了(le )人(rén )(🕸)们(men )(🛍)。虽然(🤢)过(🤴)去钓鱼是一种养家糊口的方式，但如今富有的伦敦游(⏬)客纷(fēn )纷下(xià )山，取代了当地人(rén )，当地人的生计因(🎡)此受到(👁)威胁。史(shǐ )蒂文(🛹)和(🚉)马(mǎ )丁兄(xiōng )弟的关(📞)系(🎿)也很紧张。马丁是一个没有船的渔(🤯)夫，因(🤷)为史蒂文开始(📎)用(yòng )它来为一整天的游客提(tí )供更(gèng )赚(💱)钱的旅(🎛)游。他们(men )卖掉了这座家(jiā )庭别墅(shù )(🙌)，现(xiàn )(🤸)在看(kàn )(🙄)来，最后(hòu )一(💪)场战斗是和新主人在海边的停车(🕙)位上展开。然(rán )而，情(🥕)况很快就失控了，而不(bú )仅仅是因为车(💹)轮(💔)夹钳(qián )。
(😊)Bait是一种黑(hēi )白，手工制(zhì )作，16毫(🐩)米(mǐ )胶片制作的电影。许多(duō )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(méng )(🐖)太奇景点的理论(🌸)。对不同(tóng )社(shè )会(huì )阶层的描(miáo )述(shù )——(📤)可(kě )以说是(shì )阶级(🛃)关系——也(yě )让人(📬)想起了(le )英国电(diàn )影(yǐng )中的社(shè )会(huì )现(💁)实主(zhǔ )义(yì )传统。然而，最(zuì )(🔍)重要的是(🚪)，在影像(xiàng )中不(😲)同层(⛅)次的电影历史参考文(🕵)献之(🚓)下(xià )，当前许多政治关联正(zhèng )在(🎁)等(děng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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