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(piàn )田园(yuán )诗误导了人们(men )。虽然过(guò )(🕸)去钓鱼是一种(zhǒng )养家糊口的方式，但(🌰)如今富(fù )有(yǒu )的伦(🥩)敦游客纷纷下山，取代了(🌗)当地人(📼)，当地(dì )人的生计因此受到威胁(xié )(🎡)。史蒂(dì )(👁)文和马(✳)丁兄弟的关系(xì )也(yě )很紧(🛺)张。马(🎫)丁是一个没(✖)有船的渔夫，因(yīn )为(wéi )史蒂文开始(🔊)用(yòng )(💞)它来为(wéi )一整天的游客(🌚)提供更(gèng )赚(⏯)钱的(🖲)旅(lǚ )游。他们卖(mài )(🎛)掉了这座家庭别墅(shù )(📙)，现在看来(lái )，最(zuì )后一(🙄)场战(zhàn )斗(🙀)是和新(xīn )主人在海(🍄)边(⛏)的停(🤷)车位上展开。然而，情(qíng )况(kuàng )很快就失(shī )(🥕)控了，而不(bú )仅仅(⚾)是(shì )因为车(chē )轮夹钳(❕)。　(💹)　(💔)Bait是一种黑(hēi )白(bái )，手工制作(🐛)，16毫米胶片制(🌪)作的电影。许多(duō )关于鱼、网、龙虾、长(zhǎng )靴(xuē )、绳结和(hé )渔(🔤)篮的特(📸)写镜头让人想起了(le )蒙太奇景点(diǎn )的(de )(🔎)理论(🔙)。对(👄)不同(tóng )社会阶层的描述——(🏓)可以说(shuō )(🍁)是阶级关(😳)系(xì )——也让人想起(👚)了英(yīng )(⏺)国电影中的(❓)社会现实(💑)主义(yì )传(chuán )统。然而(ér )，最重要的是，在影像中不同层次的(de )电影历(🖱)史参考文献之下，当前(🙅)许多政治关联(lián )正在(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.

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