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，和领导一起三p娇妻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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the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.“我不会忘记那种感觉的……他要过来取我的时候，手中带着的那丝寒气，正是冰清心决带给我的感觉！”显然，一颗元极丹满足不了他的要求，他眸光一闪，对周寒道“听说你父亲赐予你一枚地级珠，一并给我倒还差不多。”慕子墨皱眉，提起匕首，接二连三的刺下去，床上的人不停翻滚，在滚下床的一瞬间一个巧妙的动作顿时安全的站了起来，他叉着腰，指着慕子墨气急败坏的说到“还让不让人睡了，让不让人睡了？”她虚伪地握着夏苒的手，愧疚道“对不起啊，我记错了你出狱的时间，这几天店里实在是太忙了，所以我还没能去接你，真是抱歉，你生气也是应该的。”
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