剧情介绍
康沃尔渔(🆓)村(cūn )的风景(jǐng )明信片田(tián )园诗误(🌰)导了(le )人们。虽然过去(qù )钓鱼(yú )是一种养家糊(🥈)口(🐉)的方式，但如今富有的伦敦(dūn )游客纷(⏬)纷下(xià )山，取代(♑)了(le )当地(dì )人，当地(dì )人的生(shēng )计因(🗄)此(🛍)受到威胁(👁)。史蒂文和马丁(dīng )兄弟的关系也(📞)很紧张(zhāng )(🥞)。马(mǎ )(😚)丁(🍮)是(✖)一个没有船的渔夫，因(😱)为史蒂(🔊)文开始用它(📎)来为一(yī )整天的(de )游客(kè )(🛑)提供更赚钱的旅(lǚ )游。他(tā )们(men )卖(mài )掉了(💻)这座家庭(tíng )别墅，现(xiàn )在看来，最后(hòu )(👓)一场战斗(dòu )是和(⏰)新主人在海边的停车位(🤲)上展开。然(rán )(👺)而，情况(🎋)很(🥕)快就失(🧟)控了，而不仅仅是(🗳)因为车轮夹(jiá )钳。Bait是一(🚗)种黑白(bái )，手(➡)工制(🐛)作，16毫米胶(jiāo )(🃏)片制作(zuò )的电(diàn )影。许多关(guān )于鱼、网、龙虾、长靴(😙)、绳(⏲)结和渔篮的特写镜头让(ràng )(💸)人(🥅)想起(qǐ )了蒙太奇(🚲)景点(diǎn )的(de )理论。对不同(🖍)社会阶层(🚡)的描(miáo )述(shù )——(🚽)可(🎐)以说是阶级关系——也让人(🐂)想(👚)起(qǐ )了(le )英国电影(🤼)中的社会现(💑)实主义传(🚩)统。然而，最重(chóng )要的是，在影(yǐng )像中不(🌲)同层次的(de )电影历(💛)史参(😲)考文(wén )献之下，当前(qián )许多政治(zhì )关联正在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.