剧情简介
康沃尔(🍅)渔(yú )村的风(🆓)景明信(xìn )片(piàn )田园(yuán )(📒)诗误(wù )导了人们。虽(😘)然过(🕸)去(qù )钓(🔱)鱼是一种养家(jiā )糊口的(🆖)方(fāng )式(🐉)，但如今富有(yǒu )的伦(lún )敦游(😧)客(🎾)纷纷(🌫)下山，取代(dài )了当(dāng )地人，当地(🖲)人(⚫)的生(shēng )(🕔)计因此受到威胁(xié )。史(shǐ )蒂文和马(mǎ )丁兄(xiōng )弟(🛹)的关系也很(hěn )紧张。马丁是一个没(✖)有船的渔(🖍)夫，因为史蒂文(wén )开始用(💞)它来为一整天的游客提供更(gèng )赚钱(😞)的(🖲)旅游(yóu )。他(🦗)们卖掉了这座家庭别墅，现(xiàn )在看来，最后一(yī )场(chǎng )战斗是和新主人在(🈴)海边的停(tíng )车位上展(🚻)开。然而，情况(⛳)很快就(jiù )失控(🕐)了(le )(🐀)，而不仅仅是(🕯)因为(👣)车(chē )轮夹钳。 Bait是一种(🚗)黑白(🦇)，手工制作，16毫米胶(jiāo )片制作(zuò )的电影。许(🐩)多关于鱼、网、龙虾、长(zhǎng )靴(xuē )、绳(🤥)结和渔篮的特写镜(🔷)头让人想起了(le )蒙太奇景点的理论。对不同(tóng )社会(huì )(🔫)阶(jiē )层的(🚡)描述—(⏳)—可以(🎐)说(shuō )是(🔲)阶级关系(👗)——(📤)也让(ràng )人想起了英国电影中(🤼)的(de )社会(✖)现实主义(😉)传统。然而，最重要的(de )是，在影(yǐng )像中不(bú )(🔍)同层(💕)次(cì )的(de )电影历史参考(kǎo )文献之下，当前许多(🛌)政(zhèng )治关联(lián )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
猜你喜欢
剧情片周榜单
