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 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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来自慕容诱噬凉评价;缓慢愉快的 艺术传记片,有很多冷笑点看得快乐无比,比如echo的脚抽筋、只有右边被虫咬得很痒的腿、咖喱加上乌冬面、老被偷的门牌和单身快递小哥、别人说不出门赶紧跑出门被看到又躲回来……不知这些元素是几分臆想几分真实
来自Ridley评价;你还可以再烂一点点吗?无创意无节操又不养眼,关键既然是说成人电影巨星诞生史(杜撰的),你还不露,还有职业道德吗?!不如去看看马克沃尔伯格和朱利安摩尔的《不羁夜》了,一样的题材,但人家好歹有剧情还有职业精神。 来自Lucy评价;“为什么一定要录音棚呢?”“如果用笔记本 苹果软件 移动麦克风 这个城市就是 我们的录音棚 每首歌我们都在不同的地方录 录遍整个纽约城 录上一整个夏天 就当是给这座美丽又疯狂的纽约城的礼物 来自公良凸锻谈谭评价;所以这是一个关于解释 /试图自救的故事 来自Whitney评价;导演是侯孝贤的灯光师,第一次导戏就选了复 杂的代际题材,还夹杂转世的灵异元素Copyright © 2008-2018