剧情介绍
康沃(wò )尔(🔨)渔(yú )(🆓)村的(de )风景明信片田园诗(🔼)误导了人们。虽然(rán )过(guò )(🕰)去钓鱼是一种养(🎹)家糊(hú )口的方式，但如今(🐮)富有的(😧)伦敦(dūn )游客纷纷(fēn )下(🎏)山(❣)，取代了当地人，当(dāng )地(dì )人的生计因(yīn )此受(shòu )到威(wēi )胁。史(shǐ )蒂文(wén )(🔲)和马(mǎ )丁(dīng )兄弟的(de )关系(🛺)也(📞)很紧张(🥞)。马(mǎ )丁是一(yī )个没有船(🚑)的渔夫(fū )，因为史蒂(🔊)文(wén )开始用它(tā )来为一整天的游客提供更赚钱的旅游。他们卖掉(diào )(🥔)了这座家庭别(bié )墅，现在看(kàn )(🤸)来(lái )(🌞)，最后一场(🙉)战斗是和新主人(rén )在海(🤷)边(biān )的停车(chē )位上展开。然而，情况(kuàng )很(🥕)快(kuài )就(jiù )失控了，而不仅仅是因为车(❕)轮夹钳(qián )。Bait是一种(🐾)黑白，手(shǒu )工制作，16毫米(mǐ )胶片制作的电影。许多关于鱼、网、龙(lóng )虾(xiā )、长靴、(🤥)绳结(📛)和渔篮的(📸)特(🥤)写镜头(♌)让人想(xiǎng )起(qǐ )了(🏃)蒙(🔞)太(tài )奇景(📐)点的(de )(🌂)理(lǐ )(🔙)论。对不同社会阶(🔥)层(🚡)的描述(shù )——可(🎐)以说是阶级关系(🎦)——也让(ràng )人想起(🛃)了英国(🧘)电影中(❓)的社会现实(shí )主义(🚤)传统。然(rán )而(ér )，最重要(🧥)的是，在影像中不同层次的(🐌)电影历史参考文献之(✒)下，当前许(xǔ )多(🍾)政(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.