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：

康沃尔渔村的(🔨)风景明信片田园(yuán )(📒)诗误导(🍩)了人们。虽然过去钓鱼是一种养家糊口的(de )方(🥈)式(shì )，但如今富有的伦敦游(😧)客(kè )纷纷下(👋)山，取代(dài )了当地(dì )(♑)人(rén )，当地人(⚫)的生计(jì )因此受到威胁(xié )。史(shǐ )蒂文(wén )(🙍)和(hé )马(✳)丁兄(xiōng )弟的关系也很(🕌)紧(🛺)张。马(🎫)丁(🥞)是一个没有船的渔夫，因为史蒂(dì )文开始用它来(lái )为一整(🧚)天的游(🥁)客提供(gòng )更赚钱的旅游(❔)。他(🦗)们卖掉了这座家庭(🗞)别墅，现在看(kàn )来，最后一场战斗是和新主人(rén )在海边(biān )的停(🤷)车位上展(🚻)开。然而，情况很(🏯)快就(🎋)失控了(🐀)，而(ér )不仅仅是因为车轮(🤘)夹钳。　　Bait是(🛎)一种黑白，手工(➡)制(🏻)作，16毫米胶(jiāo )片制作的电(diàn )影。许多关于鱼、网、龙虾(xiā )、长靴(xuē )、绳结(jié )和渔(yú )篮(lán )(👌)的(de )特(📸)写镜头让人想起(qǐ )了(🍽)蒙太(tài )奇(qí )景(jǐng )(🚲)点(📐)的(de )理论。对不同社(shè )会阶层的(🚡)描述——可(kě )以说是(shì )阶(jiē )级(🕕)关系(👗)——也让(ràng )人想起了英国(guó )电影中的社(📬)会(✖)现实(💑)主义(yì )传统(🚩)。然而，最(zuì )重要的是，在影(🐈)像中(🍯)不(🔍)同层(céng )次的(🚪)电(🐌)影历史(💛)参考文献(xiàn )之下，当(🈸)前许多政治关(guān )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 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.

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