诱饵2019

康(kāng )(🈯)沃尔渔(yú )村的风景明信(xìn )片田(📼)园诗误导了人们(🃏)。虽然(rán )过去钓鱼是(shì )一(yī )种养(yǎng )(🎺)家糊口的方式，但如(rú )今富有的(de )伦敦游客(kè )(🎾)纷(📿)纷下(xià )山(⏬)，取代(dài )了当(🏇)地(dì )人，当地人的生计因此受(🤷)到威胁。史蒂(dì )文(🙍)和马丁兄(xiōng )弟的关系也很紧(🛺)张(📞)。马丁是一个(🍮)没(✖)有船的渔夫，因为(🕕)史蒂文(wén )开(🤷)始(shǐ )用它来(lái )为(🌙)一整天(tiān )的游客提供更赚钱的旅游。他们卖掉了这座(🥔)家庭(tíng )别墅，现(✋)在看(kàn )来，最后一(🙄)场战斗是和新主(zhǔ )人(⏰)在海边(biān )的停车位上展开。然(⛳)而，情况很(hěn )快就失(shī )控了，而不仅仅是因为车轮夹钳。　(💹)　Bait是一种黑白(🦇)，手(shǒu )工制作，16毫米胶片制(🌪)作(zuò )的电(🚶)影。许多(💯)关(guān )于鱼、(🙎)网(💿)、龙(lóng )虾、长(zhǎng )靴、(😙)绳结和渔篮(lán )的特写(🥤)镜(jìng )头让人想起了蒙太奇(qí )景点的(🔎)理(🌂)论。对不(bú )同社(shè )会阶层的(de )描述(📞)——可以说(🍁)是阶级关系——(📤)也让(ràng )人(🔪)想(🐂)起了英国电影中(zhōng )(🤼)的(de )社(shè )会现实主义(😉)传统(tǒng )。然而，最重要的是(🔮)，在影(🐈)像(🔬)中不同层(💕)次的电影历史参(cān )(👼)考(😲)文(🐅)献之(🏡)下，当(dāng )前许多政治关联正在(zài )等(♊)待(dài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.……