剧情简介
康沃尔渔村的风景明信片田园(📒)诗(shī )(🏽)误导(🍩)了人们(men )。虽然过去钓鱼(yú )是一种养家(jiā )糊口的方(fāng )式(shì )，但如今富有(yǒu )的(🐮)伦敦(dūn )游(😧)客纷(fēn )(📿)纷下(xià )山，取代了(le )(🌗)当(🏇)地人，当地人的(de )生计(jì )因(👑)此(🎩)受到威(wēi )胁。史蒂(👁)文和马丁兄(xiōng )(🥄)弟的关系(xì )也(🐖)很紧张。马丁是一个(🍮)没有(🙁)船的渔夫，因为史蒂文开始用它来(lái )(🚢)为一整天(🚣)的(de )游(🥁)客提(📯)供更赚钱的(de )旅游(❔)。他们卖掉(diào )了(㊗)这座家庭别墅，现在看来，最(zuì )后一场战(zhàn )斗是和新主人在(🈴)海(hǎi )边的停车位(🧤)上展开。然(⛳)而，情况很(hěn )快就失(shī )控了(le )，而不仅仅(jǐn )是(shì )因为(wéi )车(chē )轮夹钳(qián )。 Bait是一种黑白，手工(gōng )制作，16毫米胶(jiāo )片制(zhì )作(zuò )的电影(yǐng )。许多关于鱼、网、龙(lóng )虾、长靴、绳结和(📛)渔篮(👌)的特写镜头让人想起了(le )蒙(🏃)太奇景点(diǎn )的理论(🔙)。对不(bú )同社会阶层的描述—(⏳)—可(🚽)以(🎐)说是(🔲)阶级关系—(🎦)—也让(🍺)人想(xiǎng )起(👚)了英国(👩)电影中(zhōng )(🤼)的社会现(🕺)实主义传统。然而，最重要的是，在(🈳)影像中不同层(💕)次(cì )(🈂)的电(diàn )影(🐱)历史参考文献之(zhī )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.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
