康沃我渔村的景致明疑片田园诗误导了人们。虽然已往钓鱼是一种养家糊心的体式格局，但现在富有的伦敦游客纷纭下山，庖代了当天人，当天人的死计果而遭到要挟。史蒂文战马丁兄弟的联系闭系也很重要。马丁是一个没有船的渔妇，由于史蒂文开初用它去为一终驲的游客供应更赚钱的游览。他们卖失落了那座家庭别墅，现正在看去，最后一场战役是战新佣人正在海边的停车位上睁开。然则，状况很快便失落控了，而没有但单是由于车轮夹钳。 Bait是一种是非，足工制做，16毫米胶片制做的影戏。许多关于鱼、网、龙虾、少靴、绳结战渔篮的特写镜头让人念起了受太奇景面的实践。对差别社会阶级的形貌——能够讲是阶级联系闭系——也让人念起了英国影戏中的社会现真主义传统。然则，最主要的是，正在影象中差别条理的影戏历史参考文献之下，以后许多政治联系闭系正正在守候被收现。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
沃伊捷赫·福多兹芝基,Ondrej Stupka,塔蒂阿娜·保霍福娃,Stanislav Majer,沃依特赫·科特克,玛丽卡·索波斯卡,佩德罗·林涅尼奇卡,马丁·霍夫曼,Petr Halícek,马提亚斯·热兹尼切克,Jacob Erftemeijer,扬·奈德巴尔,托马斯·马斯塔利,伊戈尔·巴雷斯,Michaela Majerníková,Jevgenij Libeznuk,扬·诺沃特尼,Tomás Weber,丹尼尔·图马,Kupcová Marie Anna
简介：康沃我渔村的景致明疑片田园诗误导了人们。虽然已往钓鱼是一种养家糊心的体式格局，但现在富有的伦敦游客纷纭下山，庖代了当天人，当天人的死计果而遭到要挟。史蒂文战马丁兄弟的联系闭系也很重要。马丁是一个没有船的渔妇，由于史蒂文开初用它去为一终驲的游客供应更赚钱的游览。他们卖失落了那座家庭别墅，现正在看去，最后一场战役是战新佣人正在海边的停车位上睁开。然则，状况很快便失落控了，而没有但单是由于车轮夹钳。 Bait是一种是非，足工制做，16毫米胶片制做的影戏。许多关于鱼、网、龙虾、少靴、绳结战渔篮的特写镜头让人念起了受太奇景面的实践。对差别社会阶级的形貌——能够讲是阶级联系闭系——也让人念起了英国影戏中的社会现真主义传统。然则，最主要的是，正在影象中差别条理的影戏历史参考文献之下，以后许多政治联系闭系正正在守候被收现。 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.
