诱饵2019

康沃尔渔村的风景(⛲)明信片田园诗(shī )误导了人们。虽(suī )然过去钓鱼(🕰)是一种养家糊口的方式，但(🌰)如今(🔬)富有的伦敦游(yóu )客(🎾)纷(fēn )纷下山(⏬)，取代(❣)了(le )当地(dì )(♑)人，当地人(⚫)的生计(🔸)因(yīn )此(🎩)受到威胁。史蒂文(wén )(🙍)和(hé )(💆)马丁兄(xiōng )弟的(🚉)关系也很紧张。马(mǎ )丁(dīng )是(🗑)一个没有(🙁)船的渔夫，因为(🕕)史蒂文开始用它来为一整天的游客提供更赚(⏯)钱的(de )(🖲)旅游(yóu )(❔)。他们(🌑)卖(🎛)掉了(le )这(🥎)座家庭别(bié )墅(📙)，现在看来，最后一场战斗是和新主(zhǔ )人(⏰)在海边的停(tíng )车(chē )位(wèi )上展开(kāi )。然而，情况(⛳)很快就失控(kòng )了，而不仅仅是因为车轮(lún )夹(🈁)钳。　　Bait是一种黑白(bái )，手工制作，16毫(háo )(👪)米胶片(piàn )制(🌪)作的(de )电影(yǐng )。许多关于鱼、网、龙虾、(🤔)长靴(xuē )、绳结和(📛)渔篮的特写(🥤)镜头让人想(🥅)起(qǐ )了蒙太奇景点的理论。对不(bú )同(tóng )社(shè )(🖍)会阶(jiē )层的描述(📞)—(⏳)—可以(🎐)说是阶级关系——也(yě )让人想起了英国电影中的(❓)社会现实主义传统。然而，最重要的是(shì )，在(🈳)影像(🔬)中不同层次(cì )(🈂)的电影历史参考(😲)文献之(🏡)下，当前(qián )许(🛃)多政治关联正在(🐇)等(♊)待被(bèi )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.……