诱饵2019

康沃(wò )尔渔村(cūn )的风景明(míng )信片田园诗误导了人们(men )。虽然过去(🛍)钓鱼(🕰)是一种养家糊(hú )口的方式，但如今富有(yǒu )的伦(lún )敦游客(kè )纷纷下山(⏬)，取代了当地人，当(dāng )地(dì )人的生计因此受(🤷)到(dào )威(wēi )胁。史蒂文和马丁兄弟的(de )关系也(yě )很紧张。马丁(🥞)是一个(🍮)没有(🙁)船的(🚸)渔夫，因(yīn )为史蒂文开始用它来(🚢)为一整天的(de )游客提(📯)供(gòng )更赚钱的(de )旅游。他(🦗)们卖掉了这(zhè )座家(jiā )庭(🗞)别墅(shù )，现在(zài )看来，最(zuì )后(hòu )一(yī )场战(zhàn )斗是(shì )和新(xīn )(⛓)主人在(zài )海边(⛏)的停(tíng )车位上(shàng )展开。然而，情况很快就失控了，而(ér )不仅仅是因(🌮)为(👣)车轮夹(jiá )钳(qián )。　　Bait是一种(🚗)黑白(🦇)，手工制作，16毫米(mǐ )胶片制作的电影。许(🐩)多(duō )关于鱼、(🙎)网(💿)、龙(lóng )虾、长(zhǎng )靴(xuē )、绳(shéng )结和渔(🔤)篮(lán )的特写(xiě )镜头(tóu )让人想起了(le )蒙(🏃)太奇景点的理(lǐ )论。对不同社会(🔫)阶层的(de )(🚡)描述——可以(yǐ )说是(🔲)阶(jiē )级关系——(📤)也让人想起了(le )英国电影中(zhōng )的社会(huì )(✖)现(xiàn )实主义传统。然而(ér )，最重(🈺)要的是(shì )，在影(🐈)像中不(bú )同层次(🈂)的电(diàn )影历史参考文(wén )(🐅)献(xiàn )之下，当前许多政治(zhì )关(guān )联正在等待(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.