诱饵

康沃(👷)尔渔(🆓)村的风景明信片田(tián )园诗误导(dǎo )了人(rén )(😘)们。虽(suī )然过去钓(diào )鱼是(🎺)一种养(🎹)家糊口(kǒu )的方(🌰)式，但如今(jīn )富有的伦敦(dūn )游客纷纷下山，取代了当(😎)地人(rén )，当地(dì )(🕔)人的生(🎩)计(jì )因(yīn )此受(shòu )到(dào )威胁(👁)。史蒂文和马丁兄弟(🚥)的关系也(yě )很紧张(zhāng )。马丁是(shì )一(yī )个没(🚸)有(🖍)船的渔夫，因(yīn )为史蒂(dì )文开始用(🌙)它来为一整(🥁)天(tiān )的游(yóu )客提(⏯)供更赚(🔢)钱的旅(lǚ )游。他(tā )们卖掉了这座家庭别墅，现在看来，最(zuì )(㊙)后一场战斗是和新主人在海边(👃)的(🧤)停车位上展开。然(👺)而，情况(🎋)很(🥕)快就失控了，而不仅仅是因为车轮夹钳。Bait是一种黑白，手工制作，16毫米胶(jiāo )片制(zhì )作(🌼)的电影(yǐng )。许多(😝)关于(🏒)鱼、(💿)网、龙(lóng )虾、长靴、绳结和渔(👌)篮的特写镜头让人想(🐞)起了蒙太奇景(📐)点(diǎn )的(de )(🌂)理论。对(🐖)不(bú )同社会(huì )阶层(🚡)的描述(shù )(⏳)——可(🎐)以说是(shì )阶(jiē )级关系—(📤)—(🚻)也让人想(xiǎng )(👚)起了英国电影中(❓)的社会(🕺)现实主义(🚤)传统。然而，最重(chóng )要的是，在影(yǐng )像中不同层次的电(diàn )(🐱)影(yǐng )历(💛)史参考文(⛅)献之下，当前(qián )(🛃)许多(duō )政(zhèng )(🕵)治关联正在(♊)等(děng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.