诱饵2019

康沃尔渔村(cūn )的风(fēng )景明信(🐽)片(piàn )(🥇)田园诗误导(dǎo )了人们。虽然过去钓(diào )鱼是(shì )一种养家糊口(🎹)的方式，但(dàn )如(🍖)今富(🏴)有(yǒu )的伦(lún )敦游客纷纷(🌫)下山，取代了当(dāng )地人(rén )，当地人的(de )(🐿)生(🕔)计因(yīn )此受到威(🛍)胁。史蒂文和马丁兄弟的关(🏐)系也很紧(jǐn )张。马丁是(shì )一个没(✖)有船(😻)的(de )渔夫，因(🥀)为史蒂文开(kāi )始用(yòng )它来为一整(zhěng )天的游(🥁)客提(📯)供(🚨)更赚钱(😞)的(de )旅游。他(🦗)们卖掉(diào )(🌊)了这(zhè )座家(💻)庭(🗞)别墅，现在看(🏂)来，最(zuì )后一场战斗是和新(⛓)主人在海(🍄)边(biān )的停车位上展开。然而，情(👺)况很快就失控了，而(ér )不仅仅是因(🌮)为车轮夹(🈁)钳。　　Bait是一种黑(hēi )白，手工(gōng )制作，16毫米胶片制(zhì )作的电影。许(xǔ )多关(guān )于(yú )鱼、网(💿)、龙虾、长靴(🔍)、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(tóng )(🆙)社(shè )会阶层的描述——可以(🎐)说是阶(jiē )级关系(xì )(👗)——也让人想起(👚)了(🛃)英国(👩)电影中的社会现实(shí )主(🎴)义(yì )传统。然(rán )(⛴)而，最(zuì )重(🈺)要的(de )是，在影像中(🍯)不同(🌲)层次(cì )的(🚪)电(🐌)影历史参考文献(xiàn )之下，当前许多政(zhèng )治关联正(📯)在(zài )(🐇)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.……