泡泡影视
剧情介绍
康(kāng)沃尔(ěr)渔村的风(fēng)景明信(xìn)片田园诗误导了人们虽然过(guò)去(qù)钓(diào)鱼是一种养家糊(hú)口的方式(shì)，但(dàn)如今(jīn)富(fù)有的伦敦(dūn)游客纷纷下山(shān)，取(qǔ)代了当地人，当地人的生(shēng)计因此(cǐ)受到威(wēi)胁(xié)。史蒂文和马丁兄(xiōng)弟(dì)的关系也很紧(jǐn)张。马丁是一个(gè)没(méi)有船(chuán)的渔夫(fū)，因为史蒂文开始(shǐ)用(yòng)它来为一整(zhěng)天(tiān)的游客提(tí)供更(gèng)赚钱的旅(lǚ)游。他(tā)们卖掉(diào)了这(zhè)座(zuò)家庭(tíng)👪别(bié)墅🏡，现在看(kàn)来，最后一场(chǎng)战(zhàn)斗(dòu)是和新主人在海(hǎi)边(biān)的停(tíng)车位(wèi)上(shàng)展(zhǎn)开。然而，情况(kuàng)很快就(jiù)失(shī)控了，而不仅仅是因为车轮(lún)夹(jiā)钳🗜。 Bait是一种黑白(bái)，手(shǒu)工(gōng)制作，16毫米(mǐ)胶片制作的电影。许多关于鱼、网(wǎng)、龙虾🦞、长靴、绳(shéng)结和渔篮(lán)的特(tè)写(xiě)镜头(tóu)让人想起了蒙太(tài)奇(qí)景点(diǎn)的理(lǐ)论(lùn)。对(duì)不同社会阶层的描述(shù)——可(kě)以说是阶级(jí)关系——也让人想起了英国(guó)电影中的社会现实主义传统(tǒng)。然而，最重(zhòng)要(yào)的是，在影像(xiàng)中不同层次的电影历(lì)史参(cān)考文献之(zhī)下，当前(qián)许多政(zhèng)治(zhì)关联正在等(děng)待(dài)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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