诱饵
剧情简介
诱饵 康沃尔渔村的风景明信片田园诗误导了人们。虽然过去钓鱼是一种养家糊口的方式，野花视频免费观看手机版10但如今富有的伦敦游客纷纷下山，诱饵取代了当地人，当地人的生计因此受到威胁。史蒂文和马丁兄弟的关系也很紧张。马丁是一个没有船的渔夫，因为史蒂文开始用它来为一整天的游客提供更赚钱的旅游。他们卖掉了这座家庭别墅，现在看来，最后一场战斗是和新主人在海边的停车位上展开。然而，情况很快就失控了，而不仅仅是因为车轮夹钳。Bait是一种黑白，手工制作，16毫米胶片制作的电影。许多关于鱼、网、龙虾、长靴、绳结和渔篮的特写镜头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——也让人想起了英国电影中的社会现实主义传统。然而，最重要的是，在影像中不同层次的电影历史参考文献之下，当前许多政治关联正在等待被发现。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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the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.他们说着，转投进刚才的牌局，你来我往，好不热闹，完全忘记身边还有个刚刚加入的人。“柳姐你好我叫王建勇。”不待李湘玮作答，王建勇赶紧笑着回答道。王建勇当然也是看在李湘玮的面上，喊柳珍柳姐的。否则，王建勇肯定不这么喊。我王建勇也是各种混长这么大的哪里见过陌生女性就喊过姐姐的啊！刘凤霞虽然泼辣狠毒，但是她也不笨，当下跳开两步“我告诉你们，这是公共场所，小心管教把你们带到局子里！”这才舒了口气，果然是一样的毒。等这人醒来，问他如何中的毒就能查到底是谁害的母亲。查出真相，父亲会不会愿意把母亲抬回祖陵？
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