剧情介绍
康(🌠)沃尔(🔨)渔村(⛲)的(✒)风景明信片田(🐌)园诗(shī )误导了(le )人(😘)们。虽然(rán )过去(qù )钓鱼是一种养(yǎng )家(jiā )糊口的方式(🍖)，但如(🗼)今富有的伦敦(📿)游客(👋)纷纷下山，取代了(📼)当(😎)地人(rén )(🖲)，当地人的生计(jì )因此(cǐ )受(🎡)到威胁。史蒂文和马丁(dīng )兄弟(dì )的(de )(🐖)关系也很紧张。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(🛑)提供更(gèng )赚(zuàn )钱的旅游。他们卖掉了这座家庭(tíng )别墅，现在(zài )看来，最后(hòu )一场(chǎng )战斗是和新主(🍄)人在(🥫)海边(👃)的停(tíng )车位上展开(😍)。然而，情况很(hěn )快就失控了，而(ér )不(bú )仅(🌮)仅是因为车轮夹钳(💔)。Bait是(💍)一(🚗)种黑白，手(➡)工制(🐛)作，16毫米胶片制(zhì )作的电(diàn )影(yǐng )。许多(😝)关于鱼(yú )、网、龙虾、(📧)长靴、绳(⏲)结和渔篮的(de )特写镜头让人(rén )想(xiǎng )起了蒙太奇景点的(de )理论。对不同(tóng )社会阶层(céng )的描(miáo )述——可以(🍁)说(shuō )(🔲)是阶级关系——也让(ràng )人想起了英(👩)国电影中(zhōng )(❓)的社会(huì )现实(shí )主义(yì )传统。然(🏸)而(ér )，最重(⏺)要(🧥)的是，在影像中不同(💕)层次的电影(yǐng )历史参考文(wén )献(🏡)之(zhī )下，当前许多政治(🎞)关联(lián )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.