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，91嫩草国产线你的影院hp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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the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.车内陷入沉默中，江文龙从兜里拿出了一张纸，实则就是他老婆和女儿的买卖合同，而落款的签字，居然是丈母娘苏梅和老丈人祝星辉。这时候它完全无视雪辉的攻击，鹿角怪身上的伤痕越来越深，鲜血从伤口喷射出来。白玫丽哽了哽，咬牙说“是你自己没有魅力能怪谁，少在这里酸了，你就是看不得我们好，你们在一起这么久，他连碰都不碰你，这还不说明一切吗？”但小夏突然跑到了对面，抱着丁曼的手撒娇道“丁曼阿姨，我就是想跟你去公司呢，我好想看你数钱的样子，我保证，去了会安静坐着，不会捣乱。”
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