诱饵2019

康沃尔渔村的风景明信片(piàn )田园诗(shī )误导(🍩)了(🔼)人们。虽然过去钓鱼(🕰)是(shì )一种养家(🔧)糊口(🎹)的(🆖)方式(shì )，但如今(jīn )富有(🗼)的伦敦游客(kè )纷纷下(xià )山，取(qǔ )代(dài )了(le )当地人(rén )，当地人的(de )生计(🔸)因此受(shòu )到威胁。史蒂(dì )文和马丁(🔲)兄弟的(de )关系也很(hěn )紧张。马丁是一个(🍮)没有(yǒu )船的渔夫，因为史(🤯)蒂(dì )(😱)文(wén )开(kāi )始用它来为(wéi )一整(🧚)天(tiān )(🚣)的游客提供(gòng )更赚(⏯)钱的(🖲)旅游。他(🦗)们卖掉了这座(zuò )(🥔)家(jiā )庭别墅(📙)，现在看来(🙌)，最后(🌞)一(🙄)场战(zhàn )斗(🙀)是(🙉)和(💪)新主(🎾)人(rén )(⏰)在海边的(de )停(🤷)车位上展开。然而，情况很快就失(shī )控了，而不仅仅是因为车轮夹钳。　　Bait是一种黑白，手工制作，16毫米(mǐ )胶片(piàn )制作的电(🚶)影(yǐng )。许多关于鱼(yú )、(🙎)网、龙虾、长靴、绳(🤥)结和渔(🔤)篮(👌)的(💏)特写镜(🔷)头让人(💸)想(🥅)起(🐞)了蒙太奇景(jǐng )点(📐)的理论。对不同社会阶(jiē )层的(de )描(miáo )述——可以说是阶级(🕕)关系——也让(🍺)人想起了(🛃)英国电(🧘)影中的社会现实主义传统(tǒng )。然而，最重要的(de )是，在(🈳)影像中不同层次的电(diàn )影历史(💛)参考文献(xiàn )之下(✒)，当前许(xǔ )多政治(zhì )关联正(zhèng )(📯)在等待(dài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.……