主演：西蒙·谢泼德 特里斯坦·斯特罗克 Mary Woodvine 艾萨克·伍德文 爱德华·罗
导演：马克·詹金
类型：剧情
地区：英国
年份：2019
简介：康(kāng )(🌠)沃(👷)尔渔(🆓)村(cūn )的(✒)风景明(📼)信片田园诗误导了人(rén )们(🕟)。虽然过去(qù )(🤢)钓鱼是一种养家(🆖)糊(🥈)口(🐉)的方(🌰)式(🍖)，但如(🗼)今富有(yǒu )(💤)的伦敦游(yóu )客纷纷(🎲)下(🎏)山，取代(♑)了当地(dì )人(🖲)，当地(dì )人(rén )(🔸)的(de )生计因此受到威胁。史(shǐ )蒂文(🔲)和(hé )(🥄)马丁兄(xiōng )(🏐)弟(dì )的关(🕌)系(xì )(🛺)也很(🎿)紧(🎫)张(🥞)。马(😚)丁是(shì )(✖)一(yī )个没有船的(de )渔(yú )夫，因为史(🤷)蒂文开始用它来为(🚣)一整(zhěng )天的游客提供更赚钱的旅游。他们卖掉了这座(🙂)家庭(tíng )别墅(shù )，现在看来，最后一(🙀)场战斗是和新(🈴)主人在海边(biān )的停车位上展开。然而，情(qíng )况很快就失控了，而不仅(jǐn )仅(👣)是因为车轮夹钳。Bait是一种黑白，手工制作，16毫米胶片制(zhì )作的电影。许多(😝)关于鱼、网、龙虾(xiā )、(📧)长靴、绳结和(hé )渔篮(lán )的特写镜头让(ràng )人想起(qǐ )了(le )蒙太奇(qí )(🚲)景点的(de )理(lǐ )论。对不同社会阶层(céng )的描述——可以(🍁)说是阶级关系——(🚻)也让人想起了英国电(💅)影中的(de )社会(huì )现实主义传(🚩)统(🍹)。然而，最重要的是(👅)，在影(yǐng )(🔬)像中不同层(🈂)次的电(🐱)影(yǐng )历史参考(kǎo )文献之(zhī )(✒)下，当前(qián )许多政治关联正在等(děng )待被发现(xiàn )。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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.