暴风来了
剧情介绍
康沃尔渔村的( )风景(jǐng )明信片田( )园诗误导了( )人们。虽(suī )( )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康沃尔渔村的(🔨)风景(jǐng )明信片田(📼)园诗误导了(🔼)人们。虽(suī )(😘)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(dào )威胁(🎡)。史蒂文(wén )和马丁(🔲)兄弟的关(🏐)系(xì )也很紧(🛺)张。马丁是(shì )一个没有船的渔(yú )夫，因为史蒂文开始用它来为一整天的游客(🌚)提供更赚(zuàn )钱(😞)的旅游。他们卖掉了这(zhè )座家庭别(🙂)墅，现(✋)在(zài )看来，最后一(🙄)场战斗是和(💪)新主人在海(hǎi )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(yǐng )。许多关于鱼、网、龙虾、长靴、绳结和渔篮的特(tè )写镜头让人想(xiǎng )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(jiē )级关系——(📤)也让人想(xiǎng )起了英国(👩)电影中的社会现(🕺)实主义传统。然(rán )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(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.详情
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