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-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 reali求爱 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
《诱饵2019》以各种男体艺术雕塑和轻快跳跃的音乐开场,奠定了全片小清新小美好又文艺范儿的气质,该片镜头给人以清新爽朗的美感,女主让人充满了保护欲,男主睿智超群,演员台词严谨。
影评:
1,这部电影在看似浅显、富有童趣的情节中蕴含了深沉而又现实的思考,其中对于人与自然世界的关系的体悟更是发人深省。
2,这部电影没有催泪的企图,反而处处透出人类最为纯净的亲情。
3,影片以其丰富的内容和多维的视角给观者以无限的思考与想像。
4,两人在一起,不要去想对方爱不爱你,因为爱是经不起想的,你想得越多,伤就会越痛。有一天你会发现,原来爱情真没那么重要。这一路上你会受到伤害,有一些爱,也是会成为隐隐作痛的回忆。
5,有人说,最好的爱情是提到TA的名字你就眉飞色舞,想到TA的样子你就春心荡漾;还有人说,最好的爱情是骄傲的人低头,倔强的人服软;在我看来,最好的爱情,就是哪怕世间万般好,他也只钟情于你,牵着你的手,从心动到古稀,且以白头共余生,从此情深到永恒。