剧情介绍
康沃尔渔村的风景明信(📒)片田(🐌)园诗误(wù )导了(le )人(😘)们。虽(suī )然过去钓鱼是一种(🎗)养(yǎng )家糊(hú )口的方式，但如今富(fù )有的伦(🎾)敦(📿)游客纷纷(🎲)下(xià )(🎏)山(shān )，取(🏇)代(♑)了当地人，当地人(🔸)的生计因此受(🎡)到威胁。史蒂(✳)文(🔲)和马丁(dīng )兄弟的关系(🛺)也很(hěn )紧张。马丁(dīng )是一个(gè )没有(🖍)船的渔夫(🕕)，因为(🐖)史(🤷)蒂文(wén )开始(shǐ )用它来为一整天的游客提(⏯)供更赚钱的旅(lǚ )游(yóu )。他们卖(🥎)掉了这座家庭别(bié )墅，现在看来(🌞)，最(㊙)后一场战斗是和新主人(⛏)在(zài )海边的停车(🚻)位(wèi )上(shàng )展开。然而，情况很快(🕐)就(jiù )失(shī )(🧟)控了(le )，而不(bú )仅仅(jǐn )是(🗳)因(🤘)为(🈁)车轮夹钳。Bait是一种黑白，手工制作(🌹)，16毫(háo )米胶(jiāo )片(piàn )制(zhì )作的电影。许多关于鱼、(💿)网、龙虾、长靴(xuē )(😙)、绳(⏲)结和(🔤)渔篮的特写(xiě )镜(jìng )头让人想起了蒙太奇景点(diǎn )的理论。对不同社(shè )会(💣)阶(🔥)层(céng )的(🌸)描述——可以说是(shì )阶级关系——也让人想起了(le )英国电影(yǐng )中(❓)的社(✖)会现实主义传统。然(rán )而(❄)，最重要的是，在(zài )影像中(zhōng )不同层次的电影(yǐng )历(💛)史参考文(wén )献之(zhī )(✒)下(💨)，当前许(xǔ )多政治关联正在(♊)等待被发现。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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.