诱饵2019

康沃尔渔村的风景明信片田园诗误导了人们。虽(suī )然(rán )过(guò )去钓鱼(yú )(🕰)是(shì )一种养家糊口的方式，但如(rú )今(jīn )富有的(de )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(dì )文和马丁兄弟(dì )的关(guān )(🏐)系也很紧张。马(🎫)丁是(shì )一个没有(yǒu )船的渔夫，因(yīn )为(🕕)史蒂文(wén )开始(shǐ )用它来为(wéi )一整天的游客提供(gòng )更(gèng )赚钱的旅(🔢)游(yóu )(❔)。他们(men )卖掉了(le )(㊗)这座家(jiā )庭别(🙂)墅(shù )，现在看来，最后一场(㊙)战斗(dòu )(🙀)是和(💪)新(⛓)主人在(🈴)海(hǎi )边的停车位上展开。然而，情(qíng )况(⛳)很(🏯)快就失控(🕐)了，而不仅(🤖)仅(jǐn )(⚾)是(🕯)因(🌮)为车轮夹(🈁)钳。　　Bait是(shì )(🛎)一种(🚗)黑白，手工制作，16毫米胶片制(zhì )作(zuò )(💅)的(🌼)电影(yǐng )。许多关于鱼(yú )、网、龙虾、长靴(🔍)、绳(shéng )(🤥)结和渔篮的特(📸)写镜头让(♌)人想起(🐞)了蒙太奇景(🚲)点的理论(lùn )。对不同社(🖍)会(huì )(🔫)阶层的(de )描(🌸)述—(⏳)—可以说是阶级关系—(🎦)—也(🚻)让(🍺)人想(xiǎng )起了英(⏺)国电影(yǐng )中的(❓)社会(huì )现实主义传统。然而，最重要(yào )的是(🔮)，在影像中不同层次的电影历(lì )史参考文(🐅)献(xiàn )(⛅)之下，当前许多(duō )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.……