诱饵

康(🌠)沃尔渔村的(✒)风(fēng )景明信片田园(yuán )诗(🔼)误导了(le )人们。虽然过去钓(diào )鱼(yú )是(shì )(🎺)一种养家糊口的方式，但(dàn )如今(jīn )富有的(de )伦敦(📿)游客纷(⏬)纷下山，取代了当(😎)地(🚤)人，当地人的生计因(yīn )此受(shòu )到威(🕯)胁。史蒂文(🔲)和马(mǎ )(🛹)丁(dīng )兄(xiōng )弟的关系也很紧(🎫)张。马丁(dīng )是一个没(🚸)有(🖍)船的渔夫，因(yīn )为史蒂(dì )文开始用它(tā )(📎)来为一整天的游(yóu )(🚨)客提供(gòng )更(gèng )(🖲)赚钱的旅游。他们(men )(㊗)卖掉了这座家庭别墅(🐑)，现(🙌)在(🤠)看来(🌞)，最后一场(chǎng )(🙉)战斗是和新(🈴)主人在(🥫)海边的(🧤)停车(chē )(🚻)位(wèi )上展开。然而，情况(kuàng )很快就失控了，而不仅(jǐn )仅(jǐn )是因为车(❕)轮夹钳。Bait是一种黑白，手工(gōng )制(zhì )作，16毫(háo )(🥋)米胶片制作的电影。许(💯)多关于(🏒)鱼(🙎)、网、龙虾、长靴、绳(shéng )结和渔篮的(📸)特(tè )(🥤)写镜头让人想起了蒙太(🏴)奇景(jǐng )点(diǎn )(🔎)的理论。对不同社会阶层的描述——可(🎐)以(yǐ )说是(👛)阶(🕕)级关(guān )系(xì )——也让(🔪)人想起(🛃)了英(yīng )国电影中(❓)的(📬)社会现实主义传统。然(rán )而，最重要的是，在影像中不同层次的电(🐱)影历史(shǐ )(👼)参(cān )考(🐅)文献(xiàn )之下，当(🙅)前(qián )许多(duō )政治关(🚓)联正在等待被(bèi )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.