诱饵

康沃尔渔(yú )村的风景明信片田园诗(🔼)误(🌰)导了(le )人们(🕟)。虽然过去(🤢)钓鱼是一种(🎗)养家(🆖)糊口的方式(🍖)，但(dàn )如今富(fù )有的伦敦游客(kè )纷(fēn )纷(fēn )下(xià )山，取(qǔ )代(dài )(♑)了(le )当地人(🖲)，当地人的(👑)生计因此受到威胁。史蒂文和(hé )马丁(dīng )兄弟的(de )关系也很紧张。马丁(dīng )(🍮)是一个(😻)没有船的渔(yú )夫，因为史(shǐ )蒂文开(⏺)始用它来(lái )为一整天的(📯)游客(🛑)提供更赚(🔢)钱(❔)的旅游。他们卖掉了这座家庭别墅，现在看(🤸)来，最后一(yī )(🙀)场(chǎng )战斗(dòu )是(shì )和(⏰)新主人在海边的停车位上展(zhǎn )开。然而，情况(kuàng )很(hěn )快(🕐)就(🐀)失(shī )控(🚴)了，而不(bú )仅仅是(🗳)因为车轮夹钳。Bait是(shì )一种黑(🦇)白(bái )，手工制作，16毫(🥋)米(mǐ )胶片制(zhì )作的电影。许多关于鱼、网、龙虾(🤔)、长靴(😙)、绳(⏲)结和渔篮的特(tè )(🥤)写镜头让人(🥅)想(🐞)起了(le )蒙太奇(🚲)景点(diǎn )的理论(lùn )。对不同社会阶(jiē )层的描述——(🚽)可(kě )(🎐)以(🍁)说是(shì )阶(jiē )级关系(xì )——也让人想起(🛃)了英(👩)国电(diàn )影中的(📬)社会现实主(😉)义传(chuán )统。然(🏸)而，最(🈺)重要(🧥)的是，在影(yǐng )像中不同层次的电影(🖱)历史参考文献之(zhī )下，当(🙅)前(🛃)许多政治关联正在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.