诱饵2019

康沃尔渔村的(🔨)风景明信(xìn )(🐽)片田园(📒)诗误导(dǎo )了人们。虽(😘)然过(guò )去钓鱼(🕰)是一种养家(🔧)糊口(kǒu )(🎹)的方式(🐉)，但(🌰)如今(jīn )富(🏴)有的伦敦游(yóu )客纷纷下山，取(qǔ )代了(le )当地人，当地人的生计因此(cǐ )(🎩)受(🤷)到威(wēi )胁(xié )。史蒂(dì )文(🙍)和(💆)马丁兄(🥄)弟的(🚉)关(guān )系也很紧张。马丁是一个没有(🙁)船的渔夫，因为史蒂文开始用它(⏺)来为一整天的游客提(tí )供(gòng )(🚨)更赚(zuàn )钱的旅游(yóu )。他们卖(mài )掉(diào )了(㊗)这座家庭别墅(📙)，现在看来，最后一场战(zhàn )斗是和(hé )新(xīn )主人在海边(⛏)的停(tíng )车位上展(zhǎn )开(kāi )。然而(😍)，情(👺)况很快(🤳)就(jiù )失控了，而(ér )不仅(jǐn )仅是因为车(chē )轮夹钳。　　Bait是一种黑白(bái )，手(shǒu )工(gōng )制(🏻)作，16毫米胶(🤷)片制(zhì )作的电影。许多(💯)关于鱼、网、龙(lóng )虾、长(zhǎng )靴(🔍)、绳结(⏲)和渔篮(👌)的(de )特写镜头让人想起了蒙太奇(🏴)景点的理论。对不同(🆙)社(🖍)会阶层的(de )描述——(🏓)可(🚽)以说是阶级(🕕)关系(xì )——也让人(rén )想(xiǎng )(🐂)起了英国(guó )(👩)电影中(🤼)的社会现(xiàn )(🕺)实主义传(🚤)统。然而，最重要(yào )(⏺)的是，在影(🐈)像中不同层次的电影(yǐng )历史参考(😲)文献之下，当(🈸)前(🙅)许多政(🍾)治关联正在(zài )等待被发(fā )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.……