剧情简介
康(kāng )沃尔(ěr )渔村的风景明信片(🥇)田园诗误导(🍩)了人们。虽(😘)然过(🕸)去(qù )钓鱼(🕰)是(🤢)一种养(yǎng )(🎺)家糊口的(de )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(dāng )地人的生计因(👑)此受到威(🛍)胁(🎡)。史蒂文和马(mǎ )丁兄弟的关(🏐)系(xì )也(🐖)很紧张。马丁是一个没(méi )有船(chuán )的渔夫(fū )，因为(🕕)史蒂文开(🤷)始用它来为(🌙)一整天(tiān )的游客提供更赚(zuàn )钱的(🖲)旅(lǚ )游。他(tā )们卖掉了这(🥎)座家(💻)庭别(bié )墅，现在看来，最后一场战(zhàn )斗是和新(xīn )主人在海边的停车位上(shàng )展开。然而，情(qíng )况很(hěn )快就失控了，而不(bú )仅仅是因为车轮夹(jiá )钳(❕)。 Bait是一(yī )种(🚗)黑白，手(shǒu )工制作，16毫米胶片制(🌪)作(💅)的电(diàn )影。许多关于鱼、(🙎)网、龙虾(🈺)、长(zhǎng )靴、(😙)绳(shéng )结和(hé )渔篮的特(tè )写镜头让人(rén )想起(🐞)了蒙太奇景(jǐng )(🚲)点的(de )理论(🔙)。对不(🐖)同(🆙)社会阶层(🔥)的描述——可以说(🍁)是阶级(jí )关系(👗)—(🎦)—也让(ràng )人(🔪)想(🐂)起了英国电(🧘)影中的社(📬)会现实(shí )主(🎴)义(😉)传统。然(⛴)而，最重(chóng )要(yào )的是，在影像(xiàng )中不同层次的电影历(🖱)史参考文献(xiàn )之下，当(🈸)前许多政(🍾)治关(🎞)联正在(zài )等待(dài )被(bèi )发(fā )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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