剧情介绍
康沃尔(ěr )渔(🆓)村的(✒)风(🐽)景明信片田园诗误(🌰)导(🃏)了人们。虽(suī )然过(🕰)去(qù )钓鱼是(🎺)一种养(yǎng )家糊(🥈)口的方式，但如(🗼)今(🐮)富有(yǒu )的伦(lún )敦游客纷纷(fēn )下山，取代(dài )了(📼)当地人，当(dāng )地人的生(shēng )计(jì )因此受到威胁。史蒂(dì )文和马(mǎ )丁兄(xiōng )弟的关系也很紧张(🥞)。马丁(dīng )是一个没有(yǒu )(🖍)船的(de )渔夫，因(😱)为史蒂文开(kāi )(⏺)始用它来为(wéi )一整(zhěng )天的游客提(⏯)供更赚钱的旅游。他(🌊)们卖掉了这(zhè )座家庭别(✋)墅(shù )，现在看(kàn )来，最(㊙)后一(yī )场战斗(⛓)是和新主人在海(🤷)边的停(tíng )(🔔)车(🚻)位上展开。然(👺)而(⛳)，情况(kuàng )(🎋)很快就失控了，而(⚾)不仅仅是因为(wéi )车轮(💝)夹钳。Bait是(💍)一种黑(hēi )白，手(➡)工制作(zuò )，16毫米胶片(🌪)制作的电影。许多关于鱼(🙎)、(💿)网、(🐡)龙虾(xiā )、长靴、绳结和渔篮(lán )的特写镜头让人想起了蒙(méng )太奇(qí )景点(🔎)的理论。对不同社会阶(jiē )层(🚡)的描(📞)述——可以(yǐ )说是阶级关(guān )(👗)系(xì )——也(🍺)让(ràng )(🔪)人想(xiǎng )起了英国电影(🤼)中的社会现实主(zhǔ )(😉)义传统。然而，最重要(🧥)的是，在影像中不同层次的电影(🖱)历(lì )史(shǐ )(👼)参(cān )考(🐅)文献之(✒)下，当(dāng )前许多政治关联(lián )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.