诱饵2019

　　康沃尔(ěr )渔村的(de )风景(jǐng )明信片(🍩)田园诗(shī )误导了人们(🛍)。虽(🕰)然过(guò )去钓鱼是一种养家糊口的方(fāng )式，但(🐮)如今富有(🎾)的(de )(📿)伦(🌫)敦游客纷纷(fēn )下山，取代了当(dāng )地人，当地(dì )人的生计因此受到(👁)威胁。史蒂文和马(mǎ )丁(dīng )兄(xiōng )弟的关系(xì )也很(hěn )紧(🗑)张(😚)。马丁(dīng )是一个没有船(🥀)的渔(yú )(🤯)夫，因(yīn )为史蒂(dì )文(🚢)开始(📎)用它来为一整(zhěng )天的(🛑)游客提供更(❔)赚钱的旅游。他(tā )们卖掉了(le )这座家(jiā )庭(tíng )(🐑)别墅，现(🤸)在看来，最后一场战斗(dòu )是和新主人在(zài )海边(🔔)的停(🤲)车位(wèi )上展开。然而，情况很快就(jiù )(🚴)失控了(⚾)，而不(bú )仅仅是因为车轮(lún )夹钳。
　　(😊)Bait是一种(🐨)黑白，手(shǒu )工制(zhì )(💅)作，16毫米胶(😝)片制作的电影。许(xǔ )多(📧)关(🔍)于鱼(🤥)、网(📛)、龙虾(💏)、长靴(🔷)、绳结和渔篮(🍽)的(de )特写(🏴)镜头(tóu )让人想起了蒙(méng )(🐖)太奇(qí )(🖍)景点的(de )理论。对不(bú )同社会(huì )(🍁)阶层的描述(👗)——可(🚻)以(🍺)说是阶级关系—(🧘)—也(yě )让(❓)人想起(🕺)了英国电影中的社会(huì )现实主义传(🔮)统。然(rán )而，最(🔍)重要(yào )的是，在影像中不同层次的电影(yǐng )(🈸)历史参考文献之(zhī )下，当前许多政治关联正(🌒)在(🎁)等(děng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.