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，边走边顶水流了一地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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the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.赵恒的双手松开，双膝微微下弯，宋嘉宁从他背上滑了下来站在赵广深的面前微微笑道“大哥，我没事。小孩子挺可爱的，我以前听一个叫张震的叔叔讲过好多有趣的故事，以后有空的时候我慢慢讲给小家伙听。”！以后我怎么做人？我虽然……我虽然是做小三起来的，但也是人，也有自己的尊严啊！”“嗯。”男人低低出声，应了一声，嗓音低沉醇厚，如一条潺潺流淌的泉水，“人怎么样了？”叶七七也深知此地不宜久留，在吃完了大鸡腿后，还不忘伸手拿了几块凤梨酥放在衣服里。
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