剧情介绍
康(kāng )沃尔渔村的(✒)风(fēng )景明(📼)信片田园诗误导了人们。虽(suī )然(rán )过去钓鱼是(🎺)一种养家(🆖)糊口(🐉)的方式(shì )，但(dàn )(🏴)如今富有的伦敦游客纷(⏬)纷下山，取(qǔ )代了(le )当(😎)地人，当地(🕔)人的生计因此受到威胁(👁)。史蒂文(wén )和马丁兄弟(🚥)的关系也很紧(jǐn )(🎫)张。马(😚)丁是一(yī )个没有船的渔(yú )夫，因为史蒂文开始用(yòng )(🌙)它(📎)来为一整天(tiān )的(📯)游客提供(😞)更赚钱的旅游。他们卖(🥎)掉了这(🗞)座家庭别墅，现(🙌)在(zài )看来，最(zuì )(㊙)后一场(chǎng )战斗是和新(xīn )主人在海边的停车位上(shàng )展(zhǎn )开(kāi )。然而，情况(🎋)很快就失控了，而不仅(🌮)仅(jǐn )是因为车(chē )轮(lún )夹(jiá )钳。Bait是(💍)一种黑白(😊)，手(shǒu )(➡)工制作，16毫(🥋)米胶片(piàn )制作的电影。许(xǔ )多(duō )关于鱼(yú )、网、(🐡)龙虾、(📧)长靴、绳结(jié )和渔篮(💏)的特写镜头(♌)让人(🥅)想起了蒙太(🏴)奇景点的理(lǐ )论(lùn )。对不同社会阶层的描述(⏳)——(🚽)可以(yǐ )说(shuō )是阶级关系—(📤)—(🚻)也让(🔪)人想起了英国电影中的社会(🕺)现实(🎴)主义传统。然(🏸)而(ér )(❄)，最重(chóng )要的(de )是，在影像中(zhōng )不(bú )(🌲)同层(céng )次的电影(🖱)历史参考(kǎo )(🐅)文献(🏡)之下(xià )，当(🙅)前(qián )许(🛌)多政治关联(lián )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.