剧情介绍
康沃尔渔(yú )村(cūn )(⛲)的风景明信片田园诗误(🌰)导了人们。虽然过去(qù )钓鱼(yú )是(shì )(🎺)一种养家(🆖)糊口的方式(🍖)，但如今富有的(😧)伦敦游(yóu )客纷纷下(🎏)山(❣)，取代(dài )了当地人，当地(dì )人的生计因(🗄)此受到威胁。史(shǐ )蒂文和马丁(dīng )兄弟的关(guān )(🕌)系也(yě )很(🎿)紧(jǐn )张。马(😚)丁是一(🙁)个(😻)没(méi )有船(🚑)的(🐶)渔夫，因(😱)为史蒂文(💞)开始用它来为一整天的游(🚨)客(kè )提(⏯)供更赚钱的旅(🦗)游。他(🌊)们卖(mài )掉(🥔)了这(zhè )座(zuò )家庭别(bié )墅，现(🙌)在看来，最(㊙)后(hòu )一场战斗是(shì )和(hé )新主人在(🥫)海边的停(🔔)车位上展开。然而，情况很快就失控了，而(⚾)不仅仅(jǐn )是因(yīn )为(🈁)车轮(lún )夹钳(💔)。Bait是一种黑白，手工制作，16毫米胶(jiāo )片制作的(🚶)电影。许多关于(🏒)鱼、网、龙虾、长靴、绳结和渔(yú )篮的(de )特(tè )写镜头让(💸)人想起了蒙太(tài )奇(qí )景点(diǎn )的理论。对不(bú )同社(🔫)会阶(jiē )层的(de )描述(shù )——可以说是(shì )阶级(😳)关系—(📤)—也让人想起了英国电影中(❓)的社会现(💑)实(🎴)主义(🚤)传统。然(rán )而，最重要的是，在影像(🍯)中不(bú )同层(céng )次的(🐌)电(diàn )影历史参(😲)考(🐅)文(wén )献(🏡)之下(xià )，当前(qián )许多政(🕵)治关联正在等(👆)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.