剧情介绍
康(kāng )沃尔渔(🆓)村的风景明信(📒)片田(tián )园(🍩)诗(shī )误导了人们。虽然(🔱)过去钓鱼是一(yī )种(zhǒng )养(yǎng )(🎹)家糊(hú )(🥈)口的方式，但如(🗼)今富有的伦敦游客纷纷下山，取代了(le )当(😎)地人，当地人的生计因此受到(🕖)威(wēi )胁。史蒂文和马丁(dīng )兄(🏐)弟的关系也很(hěn )紧张(🥞)。马丁(🍮)是(✖)一个(gè )没(méi )有船的渔夫，因为史蒂(dì )文(💞)开始用(yòng )它来(🧚)为一整(🥁)天的(de )游客提供更赚(zuàn )钱(❔)的旅(lǚ )游。他(🌊)们(men )卖掉了这(zhè )座家庭别墅，现在看来，最(zuì )后一场(chǎng )(🙉)战(zhàn )斗(⛓)是和新主人(⛏)在海(hǎi )边(biān )的停(tíng )车位上展开(kāi )。然而，情(🤳)况(kuàng )(🎋)很(hěn )快就失控了(le )(🧣)，而不仅仅是(shì )因为车轮(💝)夹(jiá )钳。Bait是一种黑白，手工制作(🌹)，16毫(háo )米(🤷)胶(🃏)片制作(🌼)的(🚶)电(💹)影。许多关(🔈)于鱼、网(wǎng )、龙虾、长靴、绳结和渔篮(lán )的特写镜头让人想起了蒙(🔞)太(🏴)奇景(jǐng )点的理论(🌱)。对不同社会阶层的描(📞)述——可以(yǐ )说是阶级(😳)关(👗)系——也(🍺)让人想(xiǎng )(👚)起(qǐ )了英国(🧘)电影(yǐng )中的社会(huì )(🕺)现实主义传(chuán )统。然(rán )(🏸)而，最重要的是，在影像(🍯)中不同层次的电影历(lì )史参(cān )考文(wén )献之下(xià )，当(🙅)前许多(🍾)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.