剧情介绍
康(🌠)沃尔(ěr )渔村(cūn )的(de )风景明(📼)信片田园诗误导了人们(men )。虽然过去钓鱼是(shì )一种养家糊口(🐉)的方式，但(🏴)如今富(fù )有的(😧)伦(lún )敦游客纷(⏬)纷下山(❣)，取代了当地人，当(dāng )(🐿)地人的生计因(🗄)此受(🎡)到(🕖)威(🕯)胁。史蒂(✳)文和(hé )马丁(🚉)兄(xiōng )弟(dì )(🚥)的关系也很紧(jǐn )张。马丁是一(yī )个没有船的渔夫(fū )，因(😱)为史(shǐ )蒂(dì )文开始用(🌙)它来为(wéi )一整天(tiān )的游客提供更(🖲)赚钱的旅游(yóu )(🌑)。他们卖掉了这座(🙂)家庭(🔝)别墅，现在看(kàn )来，最后一场战(zhàn )斗是(🎾)和新主人在(🥫)海边的停车位上展开(😍)。然(👺)而，情(🤳)况很(🥕)快就(jiù )(🐀)失控(🚴)了，而不仅仅(jǐn )是因为车轮夹钳。Bait是(shì )一种黑(hēi )白(😊)，手工制作(zuò )，16毫米胶片制作的电(diàn )(💹)影。许(💯)多关于鱼、网、龙虾、长靴、绳结和渔篮的特(tè )写镜头(tóu )让人(rén )想起(🍽)了蒙太奇景点的理论。对不同社会阶层(🚡)的描述——可以(yǐ )说是(shì )(👛)阶(jiē )级关(👗)系(🎦)—(📤)—也(🍺)让(ràng )人(rén )想起(qǐ )了(le )英(👩)国(guó )电影(yǐng )中的社会现(💑)实主义传统。然(🏸)而(❄)，最重要(yào )的是(👅)，在(zài )影像中不同层次的电影历史参考(kǎo )文献之下，当(🙅)前许多(duō )政治(zhì )关(🚓)联正在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.