剧情简介
康沃尔渔(🌠)村的风景明(✒)信片(piàn )田园诗误导(dǎo )(🍩)了人们。虽然过去钓鱼是(shì )一种养(🎺)家糊口的方式，但如今富(🏴)有的伦敦游客纷纷(fēn )(🌫)下山，取代了当地人(📼)，当(dāng )地人的生(🕔)计因(👑)此受到威胁(xié )。史(🕯)蒂文(wén )和(hé )马(mǎ )丁(dīng )(🔲)兄弟的关系也(🐖)很(hěn )紧张。马丁是一(😚)个没有(yǒu )船的(de )渔夫，因为史蒂文开始(shǐ )用(yòng )它(tā )来(🚢)为一整天(🚣)的游客(kè )提(tí )(📯)供(gòng )更赚(⏯)钱(qián )(😞)的旅(🔢)游。他(tā )(🦗)们(🌑)卖(mài )掉(🌊)了(le )这座家庭别(🙂)墅(shù )，现在看来，最后一(yī )场战斗是(shì )和新主人在海边的(🥫)停车位上(🔔)展(🚻)开。然(⛳)而(ér )，情(👺)况很快就(jiù )失控了，而不仅仅是(shì )因为车轮夹(🈁)钳。 (💔)Bait是一种(zhǒng )(🚗)黑(hēi )白(🦇)，手工制作，16毫米(🥋)胶片制(🌪)作的电影。许多关于鱼(yú )、网、龙虾、长靴、绳结(jié )和渔(yú )篮的特写镜头让(♌)人想起(qǐ )了蒙太奇景(jǐng )点(📐)的理论。对不同社会阶(💣)层的描述—(⏳)—(🏓)可(🚽)以说是阶级(🕕)关系(👗)——也(🚻)让人想起了英国电影中的社(shè )会现(🕺)实主(zhǔ )义传统(tǒng )。然而(ér )，最重要的是，在影(yǐng )(🐈)像中不(bú )同(tóng )(🌲)层(💕)次的电影历史参考文(wén )献之下(✒)，当前(qián )许多(duō )政治关联正在等待被(bèi )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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