剧情简介
康沃尔渔村的风景(⛲)明信(xìn )片田(tián )园(yuán )诗误导了人(rén )们。虽然过(🕸)去(qù )(🛍)钓鱼是一(🤴)种养家(🔧)糊(🎗)口(🎹)的方(🥈)式，但如今富有(🗼)的(de )伦敦游客纷纷下山，取代了当地(♑)人，当地人的生(🕔)计(jì )因(yīn )此受(🤷)到(dào )威胁。史蒂文(🙍)和马(✳)丁(dīng )兄弟的关系也很紧张(zhāng )。马丁是(🗑)一(yī )个(gè )没(✖)有船的渔(yú )夫(🚑)，因为(wéi )史(shǐ )蒂(dì )文(🐖)开始用(yòng )它(tā )来(🚢)为(🌙)一整(🧚)天的(🔩)游客(kè )提供更(gèng )赚钱的旅游。他们卖(🎛)掉了这座家(💻)庭别墅，现(✋)在看(🏂)来，最(🤸)后(hòu )一(🙄)场战斗是和新主人在海(hǎi )(🍄)边的(de )停车(👃)位上展开。然而，情况很快就(🎋)失控了，而(ér )不仅仅是因(🌮)为车轮夹(jiá )钳。 Bait是(🛎)一种黑白(🦇)，手工制作，16毫米胶(🤷)片(piàn )制作的电(🚶)影(yǐng )。许多关(guān )于鱼(🏒)、网、龙(lóng )虾、长靴(xuē )、绳结和渔篮的特写(🥤)镜头让人想起(qǐ )了蒙(méng )(🏃)太(🔞)奇景(jǐng )点的(de )理论。对不同(tóng )社会阶层的描(🌸)述——可以说是(shì )(🔲)阶(👛)级关系——也让人想起(qǐ )了英国电(diàn )影(💅)中(zhōng )的(de )社会现实(shí )主(zhǔ )义(😉)传统。然而，最重(chóng )(🈺)要的是，在影像中不同层次的电(🐌)影历史参考文献之下，当前许多(🛌)政治关联正在(🐇)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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