诱饵2019

康(🈯)沃(wò )尔渔村的风(fēng )景明(✒)信(🐽)片田园诗误导(dǎo )了人们。虽然(🕟)过去(qù )钓(🔱)鱼是(🤢)一种养家糊口的(de )方(fāng )式(🐉)，但如(🍖)今富有(yǒu )的(de )伦(🥩)敦游客纷纷下山，取代(❣)了当(dāng )地(♑)人，当地(🖲)人的生计因此(cǐ )受到威胁。史蒂文和(hé )马丁兄弟的关系(🚥)也(yě )很紧张(zhāng )。马丁(dīng )是一(yī )个没(méi )有船的渔夫，因为史蒂文开(kāi )始(shǐ )用它来为一整(zhěng )天(🚣)的游客提供更(gèng )赚钱的旅游。他们(🌑)卖掉了这座家庭别墅，现在看(kàn )来，最后(hòu )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(bú )仅仅是因为车轮夹钳。　　Bait是一种黑白，手工(gōng )(➡)制作，16毫米胶片制作(💅)的电影(yǐng )。许多(💯)关(guān )于鱼、网、龙(lóng )虾、长靴(🔍)、绳(🤥)结和渔篮的特写镜头让人(rén )想起了蒙太(tài )奇(🏴)景点的(🔎)理论(lùn )。对(duì )不同社会阶层的描述(📞)——(🏓)可以说是阶(👛)级(🕕)关(😳)系——也(yě )让(ràng )人(rén )想起了(le )英国(guó )(👩)电影(💅)中的(❓)社(shè )会现实主义(😉)传统。然(rán )而(🏸)，最重要的(🧥)是，在影像中不(🔍)同(tóng )(🌲)层次的电影历史参考(😲)文(wén )(🐅)献之下，当(🈸)前许多政治(zhì )关联正(zhèng )(📯)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.……