剧情简介
康(🈯)沃尔渔村的风(🆓)景明信片(🥇)田(tián )(📼)园诗(🏽)误导了人们(men )(🃏)。虽然(rán )过去钓鱼是一种养(yǎng )家糊(🎗)口的方式，但(dàn )如今富(fù )(🏴)有的伦敦游客(kè )(🎾)纷(fēn )纷(🌫)下(xià )(👋)山，取代了当地(dì )人，当地人(rén )的生(🕔)计(🔸)因此受到(dào )威胁。史蒂文(wén )和马丁兄弟的关系也很紧张(📞)。马丁(dīng )是(shì )一个(🍮)没(méi )有(yǒu )船的渔夫，因为史蒂文开始(🔊)用它(tā )来为(🌙)一(yī )整天的游客提供更赚钱的旅(🔢)游。他们卖(mài )掉了这座家庭(🗞)别墅，现在看来(lái )(🙌)，最后(hòu )一场战斗(dòu )是(🙉)和(hé )新(⛓)主人在海边的停(🤷)车位上展开(🤲)。然(⛳)而，情(qíng )(👺)况(kuàng )很快就失控(🕐)了，而不(bú )仅仅是因为车轮(lún )夹钳。 Bait是一(💍)种黑白(🦇)，手工(gōng )(➡)制作，16毫米(mǐ )胶片制作的电影。许(🐩)多(duō )关(😝)于鱼、(🙎)网、龙虾、长(zhǎng )靴、绳结和(hé )渔(🔤)篮(👌)的特写镜(jìng )(🔷)头让人想起了蒙太奇(🏴)景(🚲)点(📐)的理论(🔙)。对不同社会阶层的描(miáo )述——可以说是阶级关(😳)系——(📤)也让(🍺)人想起(qǐ )了英国电影中的社会现实主义传统。然而(ér )，最重(chóng )要的是，在影像中不同(tóng )层(céng )次的电影历史参考文献(xiàn )之(🏡)下，当(🈸)前许(🛃)多政治关联(🚓)正在(zài )等待被(🔍)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
猜你喜欢
剧情片周榜单
