剧情简介
康沃尔(ěr )渔村的风(fēng )景明(míng )信片田园(yuán )诗误导(dǎo )了(le )人们。虽(suī )然过去(🛍)钓鱼是(shì )一种养(yǎng )家糊(🎗)口的(de )方(🥈)式，但如今富有的伦敦游客纷纷下山(shān )，取代了当地人，当地(🖲)人的生计因此(🎩)受到威胁(xié )(🎡)。史(shǐ )(🕯)蒂文(🙍)和(hé )马丁(🔲)兄弟(🛹)的(de )关(🏐)系也很紧(jǐn )(🛺)张(zhāng )。马丁是(shì )一个没有(yǒu )船的(🚸)渔(yú )夫(fū )，因(🥀)为史(🤯)蒂文开始用(💞)它来为一整天的游客提(📯)供更赚(⏯)钱(qián )的旅游。他们卖掉了这座(zuò )家庭别墅，现在(zài )看(kàn )(🏂)来，最后(hòu )一场(chǎng )战(👓)斗(dòu )是和新主人在海(🍄)边的停车位(wèi )(🧤)上展开。然而，情况很快就失控(🕐)了(le )，而不仅仅是(shì )(🕯)因为车(🗳)轮夹(🈁)钳。 Bait是一种黑白，手工(➡)制(🏻)作，16毫米胶片(🃏)制作的(🌼)电影(yǐng )(💹)。许(xǔ )多关于鱼、网、龙(lóng )虾、长靴、绳结和(hé )渔(yú )篮的特(tè )写(🥤)镜头(tóu )(👵)让人想(xiǎng )起了蒙(méng )太奇景点的理论。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(yīng )国(👩)电影中的社(📬)会(✖)现(xiàn )实主(🎴)义(yì )传(chuán )(🚤)统。然而(ér )，最(💁)重要的(🧥)是，在影像中不同(tóng )层次的(de )电影(yǐng )历史(shǐ )参(👼)考文献(xiàn )之(🏡)下，当前许多政治关(guān )联(lián )正在等待被发(🏗)现(xiàn )。 (🏆) 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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