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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,但如今富有的伦敦游客纷纷下山,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-postc ard idyll of the Cor nwall fishing village is misleading. While fishin g used to be a way of supporting oneself, wealthy London tourists have now d escended and are displacing the locals, wh ose livelihood is thus th reatened. The re latio nship betwe en brothers Steven and Martin is a lso strain ed. Mart in is a fisherman without a boat, since Steven started us ing it for fa r more lucrativ e tours f or all the d ay-trippers. They’ve sold the family cottage a nd now it seems that the fina l battle to be fought is that wi th the new o wners over the parking s pace next to the sea. Yet the situation soon ge ts out of ha nd, and n ot just bec ause of the whe el clamp. Bait is a black-and-white f ilm sho t on hand-pr ocess ed 16mm. Numero us close-up s of fish, nets, lob ster s, wellin gton boots, knots and catch ba sket s bring to mind the theory of a montage of attractio ns. The depiction o f the differ ent social strata – one c ould speak of class relati ons – is also reminiscent o f the tradi tion of social realism in British cinema. Above all, however, a whole lot of curr ent political relev ance is waiting to be discovered beneath the diffe rent lay ers of film historica l references co ntained in the images. 这一次, 她直接从 袖中暗袋里摸出一个大型储物袋,“知道我要来见您,不仅爷 爷让我给您带了好 些黄金谷做成的 米饭和各类点心,就是我 师父师叔他们,都逼着 宗里的大师父,给您弄了好些好吃的,我师姐采薇还把她弄的极品花茶给我了。”
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