剧情介绍
康(kāng )沃(wò )尔渔村的(✒)风景明(míng )信片田园诗误(wù )导了人们(men )。虽然(rán )(🔱)过(🕰)去(qù )钓(🤴)鱼是一种养家糊口的方式，但(dàn )如今富(🥩)有的伦敦(dūn )游客纷纷下山，取代了(📼)当地人(rén )，当地人(🔸)的(👑)生计(jì )因此(🛍)受到威胁。史(shǐ )(💆)蒂文和(hé )马丁兄弟(dì )(🚥)的关系也很(hěn )紧张。马(mǎ )丁是一个没有船(chuán )的(de )(🐶)渔(yú )夫，因为(🐖)史蒂文开始用它(tā )来为一整天(🌚)的游客提供更赚钱的旅游(yóu )。他(tā )们卖掉了这座(zuò )家(📙)庭(tíng )别(✋)墅，现在看来(lái )，最后一(yī )场战斗(⛓)是(shì )和(hé )新主人(rén )(⛏)在(🥫)海边(biān )的停车位上展开。然而(⛳)，情(🤳)况很快(🕐)就失控(kòng )了，而不仅(🌮)仅是因为(🈁)车(chē )轮(lún )夹钳。Bait是一种黑白，手工制作，16毫(háo )(🥋)米(mǐ )胶片制作的(🚶)电影。许多关于鱼(🙎)、网、龙虾、(📧)长(🔍)靴(😙)、(🤥)绳结和(hé )渔篮的特(tè )写镜头(tóu )让(💸)人(🥅)想(🐞)起了蒙太奇景点的理论。对(duì )不(bú )(🆙)同(tóng )社会阶层(🚡)的描(📞)述——可(🎐)以说是阶级(😳)关系——也让人(rén )(🐂)想(👚)起(qǐ )了英国电影中(zhōng )的社(✖)会现实主(zhǔ )义传统。然而，最(🈺)重要的是，在影像中不(🌲)同层(céng )次的电影历史(👼)参考(🐅)文献(xiàn )之(zhī )下，当(dāng )前许多政治关联正在等待被发现(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.