剧情简介
康(kāng )沃尔(ěr )渔村的风景明信片田园诗误(wù )导了人们。虽然过去钓鱼是一种养家(jiā )(🔧)糊口的方式(shì )，但(🌰)如今富(fù )有(yǒu )的(de )伦敦游(yóu )(😧)客纷纷下(xià )山，取代了当地人，当地人的(🐿)生计因此受(shòu )到威(🛍)胁。史蒂文和马丁兄弟的(de )关(🏐)系也很紧张。马丁是一(yī )(😚)个(gè )没(méi )有船的渔(yú )夫，因为史蒂(dì )文开始用(💞)它来为(wéi )(🌙)一整(🧚)天的(🔩)游客提(tí )供更赚钱的旅(lǚ )游。他们(men )卖掉(🌊)了这座家庭别墅(📙)，现在(🐑)看(kàn )来(lái )，最后一场战斗是(🙉)和新(⛓)主人在(🈴)海边(⛏)的停(tíng )车位(wèi )上展开。然而，情况很快(🤳)就(🎋)失控了，而不(bú )仅仅是因为车轮夹(jiá )钳。 (💹) Bait是一种(zhǒng )黑白，手工制作，16毫(👪)米胶片制(🌪)作(💅)的电影。许多关于(yú )鱼、(🙎)网、龙虾、(🤔)长靴、绳结和(hé )(📛)渔篮(lán )的(💏)特写镜头(tóu )让人想起了(🍽)蒙(🏃)太奇(🏴)景(🚲)点的理论。对不同社会阶层的描述——可以(🎐)说是(🔲)阶级关系——也(🚻)让人(rén )想起了英国(guó )电(diàn )影(yǐng )中(zhōng )(🤼)的(❓)社(shè )会现实主义(yì )传(🚤)统(tǒng )。然而(🏸)，最重(chóng )要(⏺)的是，在影像(xiàng )中(🍯)不(🔍)同层(céng )(💕)次(🈂)的电影历史参考(kǎo )(😲)文(wén )(🐅)献之下，当前(qián )许多(duō )(🛌)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
猜你喜欢
剧情片周榜单
