剧情介绍
康沃尔渔村的风景明(míng )信片田园诗误(wù )导(dǎo )了人们。虽(suī )然过去(🤢)钓鱼(yú )是(shì )一种养家糊口(🐉)的(de )方(🌰)式，但(dàn )如(rú )今富有(💤)的伦(🎾)敦(dūn )游客纷纷下山，取代了(le )当地人，当地(dì )人的(👑)生计(🤷)因此受到威(wēi )胁(👁)。史蒂文和马丁兄弟(dì )的关系(🛺)也很(🎿)紧张。马丁(🍮)是(shì )一个没有(🖍)船的渔夫，因(😱)为(🐖)史蒂文开始用(🌙)它来为(🚣)一(yī )整(zhěng )天的游客提供更赚钱的旅游。他(tā )们卖掉了(le )这座家庭别(bié )墅，现在看来，最后一场(chǎng )战斗(dòu )是和新(xīn )主人(⛏)在海边的停车(chē )(🚻)位(🤲)上展开(😍)。然而，情况(🎋)很(hěn )快就失控(🚴)了，而不仅仅是因为车(chē )轮(lún )夹钳(💔)。Bait是(💍)一种黑(🦇)白，手(shǒu )工制作，16毫米胶(🃏)片制(💅)作的电影(📟)。许多关于(yú )鱼、网(wǎng )、龙虾(xiā )(🤔)、(📧)长(🔍)靴、绳结和(🔤)渔篮的(de )特写镜(jìng )头让人(rén )想起了蒙(méng )太奇(qí )景点的理论。对不(🆙)同社(🔫)会阶(🔥)层的描述—(🏓)—可以说(shuō )是阶(jiē )级(jí )关系—(📤)—也让(ràng )人想起了(le )英国电影中的社会现(💑)实主(zhǔ )义(🚤)传统(tǒng )。然而(❄)，最重(⏺)要的是，在(🐈)影(🔬)像(xiàng )中(zhōng )不同(💕)层次(🚪)的(🐌)电影历史参考文(wén )献之下，当前许多政治关联正在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.