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康沃尔渔村的风景明信片(🍩)田园诗误导(😘)了人们。虽然过去钓鱼(🔧)是一种养家糊口的方式，但如今富有的伦(🌫)敦游(⏬)客纷纷下山，取(📼)代了当(🖲)地人，当(🔸)地人的生计因此受到威胁。史蒂文(🛹)和马丁兄弟的关系也很(🥞)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毫米胶片制作的电影。许(🤔)多关于鱼、网(📛)、龙虾、长靴、绳结和渔篮(🍽)的特写镜头让人想起了蒙太奇景点的理论。对不同社会(🍁)阶层的描述——可(🚻)以说是阶级关系——也让人想起了英国电影中的社(🏸)会(❄)现实主(⏺)义传统。然而，最重要的是，在影像中不同层次(🏡)的电影(🈸)历史参考文献之下，当前许(🔍)多政治关联(🐣)正在等待被发现。 (🈺) 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
