诱饵2019

简介：康沃尔渔村的风光明信片田园诗误导了人们。固然曩昔垂纶是一种养家生活的体式格式，但如今富有的伦敦旅客纷繁下山，庖代了当地人，当地人的生计是以遭到威逼。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，因为史蒂文开端用它来为一成天的旅客提供更获利的旅游。他们卖掉了这座家庭别墅，如今看来，最初一场战役是和新主人在海边的停车位上展开。然而，情况很快就掉控了，而不单单是因为车轮夹钳。　　Bait是一种黑白，手工建造，16毫米胶片建造的影戏。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写——可以说是阶层关系——也让人想起了英国影戏中的社会实际主义当代。然而，最紧张的是，在记忆中不同层次的影戏历史参考文献之下，当前许多政治接洽关系正在期待被发明。　　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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.