马克·詹金导演执导的《诱饵2019》，2019年上映至今获得了不错的口碑，由Morgan Val Baker,Georgia Ellery,Martin Ellis,Chloe Endean,Stacey Guthrie,Jowan Jacobs,Giles King,Edward Rowe,西蒙·谢泼德,特里斯坦·斯特罗克,玛丽·伍德维恩等主演的一部不错的剧情片。

诱饵2019剧情：

康沃尔(ěr )渔村的风景(jǐng )(🥇)明信片田园诗误导了人们。虽然(rán )过去钓鱼是一种养(yǎng )家(🆖)糊(hú )(🥈)口(🐉)的方式，但如(rú )今富有(yǒu )的伦敦游客(kè )纷纷下(xià )(🎏)山，取(qǔ )(🏇)代了当(dāng )地人(rén )，当地(🕔)人的(👑)生计(jì )因(yīn )此受到(dào )威胁(xié )。史(shǐ )蒂(dì )文和马(mǎ )丁兄弟的关系(🛺)也(📞)很紧(🎫)张。马(😚)丁是(✖)一个(gè )没(🚸)有(🖍)船的渔夫，因为史蒂文开始(🚢)用它来为一整天(tiān )的游(yóu )客提供(gòng )更(🖲)赚钱的(💱)旅(lǚ )游(🌑)。他们卖掉了这座家庭别(✋)墅，现(🙌)在看来，最后(hòu )一场(🙉)战斗是和(⏰)新主人(rén )在海边的停车位上(🕙)展(zhǎn )开(kāi )。然而，情况(🎋)很快就失(🧟)控了(🧣)，而不(🕯)仅仅是因为车轮(💝)夹(💹)钳。　　Bait是(shì )(🐾)一种黑白，手工制作(zuò )，16毫米(mǐ )胶片制(🚶)作的电影(💯)。许多关(🙎)于(yú )鱼、网(wǎng )(🈺)、龙(📧)虾、长靴、绳结和渔篮的特写镜头让人想起(qǐ )了蒙太奇景点的理论。对不同社会阶层的描述——可以(yǐ )说是阶级(jí )(🎦)关系(🚻)——也让人(🛃)想起了(🧘)英国电(❓)影(yǐng )中的(🕺)社会(🎴)现实(🚤)主义传统(tǒng )。然(rán )而，最重(chóng )(🔮)要的是，在(🍯)影像中不同层次的电影历(lì )史参考文(wén )献之下，当前(🍾)许多政治关联正(zhèng )在(zài )等待被发(fā )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.

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