诱饵

康沃尔(🔨)渔村的(✒)风(fēng )景明信片田(tián )(🐌)园诗误导(dǎo )了人们。虽然过去(🤢)钓鱼(yú )是一种养(🎹)家(🆖)糊口的方式，但如(rú )今富有的(de )伦敦游(🌫)客(kè )纷纷下山，取(🏇)代了当(dāng )地(dì )(🚤)人(🖲)，当地(dì )人的生(🎩)计因此(🛍)受(shòu )(🎡)到威胁。史蒂文和马丁兄弟(🚥)的关系(xì )也很紧(jǐn )张。马丁是一个(gè )没有(yǒu )船的(🐶)渔夫，因(😱)为史蒂(dì )文开始用它来为(wéi )(🚣)一整天的游客提供(gòng )更赚钱的旅游。他们卖掉了(💻)这座家(jiā )庭(🔝)别墅，现在看(kàn )来，最后(hòu )一场(chǎng )战斗是和(⏰)新主(zhǔ )(🍄)人(rén )在海边的(🧤)停车位(wèi )上(🕙)展(zhǎn )开。然(👺)而(ér )，情况很快就失控(🚴)了，而不(🕯)仅仅是(shì )因(yīn )(🤘)为车轮夹钳。Bait是一(yī )(🚗)种黑(hēi )白，手(shǒu )工制作，16毫米胶片制作的电影。许多关于(🏒)鱼(yú )、网、龙虾、长靴(😙)、(🤥)绳结和渔篮的特(tè )写(🔷)镜头让(ràng )人想起了蒙太奇(qí )景(jǐng )点的理(🔙)论(lùn )。对不同(tóng )社会(💣)阶层的(de )(🌸)描(📞)述(shù )——可以说是阶级(jí )关(👗)系——也让人想(xiǎng )起了英国电影中的社会(🕺)现实主义传统。然而，最(zuì )重要的(de )是，在影(🔬)像中不同层次的(de )电(🐱)影历(💛)史(👼)参(😲)考(🐅)文献(🏡)之下，当前许(xǔ )多政(🕵)治(zhì )关联正在等(děng )待(dài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.