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：

康沃尔渔(yú )村的(de )风(🆓)景明信片田园(yuán )诗(shī )误导(🍩)了人们(men )。虽然过去钓鱼是一种养家糊口的方式(shì )，但(🌰)如(rú )今(jīn )富有的伦(🥩)敦游(😧)客纷纷(🌫)下山，取代了当(dāng )地人，当地人的生计因此受到威胁。史蒂文(wén )和马丁(🔲)兄弟的关(guān )系也(🐖)很紧张(zhāng )(📞)。马丁(🥞)是一(😚)个(🍮)没有船的渔夫(🚑)，因为史蒂文(wén )开始(shǐ )用(yòng )它来为一整(🧚)天的游客(kè )(🌚)提(tí )供更赚钱(qián )的旅游。他们(men )卖(🎛)掉(🌊)了这座家庭别墅，现在(zài )看来(🙌)，最(zuì )后一(yī )(🙄)场战斗(dòu )是和(💪)新主人在(zài )(🈴)海(hǎi )边(⛏)的(de )停车位上展开。然而，情况很快就失控(🕐)了，而不仅仅(jǐn )是因为车轮夹(🈁)钳。　　Bait是一种黑白，手工(➡)制作(zuò )(🐛)，16毫(👪)米(mǐ )胶(jiāo )片制作(💅)的电影。许(xǔ )(🐩)多关(😝)于(yú )鱼、网、龙(lóng )(🐡)虾(🈺)、长靴(xuē )、(😙)绳(🤥)结和渔篮的特写(🥤)镜头让人(💸)想(xiǎng )起了蒙太(🔞)奇景点(📐)的理论。对不同社会阶层的(de )(🚡)描述(shù )——可以说是(shì )阶级关系——也让(🍺)人想(🐂)起(👚)了(🛃)英国电影(yǐng )中的社会现实(shí )主(zhǔ )(🎴)义传统。然(rán )而，最重要(⏺)的是，在影(yǐng )像(🔬)中不同层次的电影历史(💛)参考文献之下，当(🈸)前许多(duō )政(🍾)治关(guān )联正(zhèng )在等待被发现(xiàn )。　　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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.

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