诱饵2019

　　康沃尔渔村的风光亮信片故里诗误导了人们。当然过去垂钓是一种养家糊口的编制，但此刻富有的伦敦旅客纷繁下山，代替了本地人，本地人的保存是以遭到威胁。史蒂文和马丁兄弟的关系也很垂危。马丁是一个没有船的渔夫，因为史蒂文开端用它来为一成天的旅客供给更获利的旅游。他们卖掉落了这座家庭别墅，此刻看来，末端一场战争是和新主人在海边的泊车位上展开。但是，环境很快就掉控了，而不但仅是因为车轮夹钳。　　Bait是一种好坏，手工建造，16毫米胶片建造的电影。很多关于鱼、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摹——可以说是阶层关系——也让人想起了英国电影中的社会实际主义传统。但是，最垂危的是，在影象中不同层次的电影汗青参考文献之下，当前很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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.