剧情介绍
康沃尔渔村的风(fēng )景(🥇)明信片(piàn )田园(🍩)诗误导了人们。虽然过去(qù )钓鱼是一种养(🎹)家糊(🥈)口的(🛤)方式，但如(rú )今富有的(😧)伦敦(📿)游客(kè )纷纷(fēn )下山，取(qǔ )代了(📼)当地人，当地人的生计因此受到威(wēi )胁。史蒂文(🔲)和马(mǎ )丁兄弟(🚥)的关系(xì )也很紧张(🥞)。马丁是(✖)一个(gè )没有船(chuán )的(🐶)渔夫(🕕)，因为史蒂文(💞)开始用(🌙)它来为一整天的游客提(tí )(⏯)供更赚钱的(💱)旅(lǚ )(🦗)游。他们(men )卖掉了这座家(📙)庭别墅，现在看来，最后一场战(💪)斗是和(hé )新主人在海(hǎi )边(biān )的停车位上展开。然而，情(qíng )况(kuàng )很快(kuài )就失控了，而不仅仅(👣)是因为(🈁)车轮夹钳(💔)。Bait是(💍)一种(zhǒng )黑(🦇)白，手工(gōng )制作，16毫米(mǐ )胶片(🌪)制作的电(💹)影。许多关于(yú )鱼、网、龙虾、长(🔍)靴、绳结(jié )和渔(👌)篮的特写(🔷)镜头让人(rén )想起了(🏃)蒙太奇(🚲)景(jǐng )点(🔎)的理(🔙)论。对不同社会阶(jiē )层(céng )的(🌸)描述(shù )——可(🎐)以说是阶(🕕)级关系——也(🍺)让人想起(qǐ )(🛃)了(le )英(yīng )国(🧘)电影中的社会(🕺)现(💑)实主义传(chuán )统。然而，最(zuì )重要的是，在(zài )影像中(🔍)不同层次的电影历史参考(kǎo )文献之(zhī )下，当前许(xǔ )多政治关联正在(zài )(♊)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.