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,Mary Woodvine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(📼)景明信片田(🔼)园(yuán )诗误导(dǎo )了(le )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(lún )敦游客纷(🎏)纷下山，取(qǔ )代了当(dāng )地(⚫)人，当(dāng )地人的生计(🛍)因此受到(👁)威(wēi )胁(💆)。史蒂(🥄)文和马(🏐)丁兄弟的关系也很紧(jǐn )(🗑)张。马丁是一个没有船的渔(yú )夫，因(yīn )为史蒂文(🚢)开(kāi )(🌙)始(📎)用它来为一(yī )(🌚)整天(tiān )的(de )(🛑)游(yóu )客提(tí )供(🔢)更赚钱的旅游。他们卖(💻)掉了这座家庭别(bié )(🏂)墅，现在看来，最后一(yī )场(chǎng )战斗(dòu )(⏰)是和(🍄)新(xīn )主人在海(hǎi )边的(🚻)停车(chē )位上展开。然而(🤳)，情(qíng )况很快(kuài )就失控(🤖)了，而不仅仅是(shì )因为车(💹)轮夹钳。
　　Bait是一种黑白，手工制作(zuò )，16毫(háo )米胶片制作的(💿)电影。许多(duō )关于鱼、网、龙虾、长靴、绳结和渔(yú )篮的特写镜头让人想起了蒙太奇景(jǐng )点(💣)的(de )理(lǐ )论(lùn )。对不同社会(🍁)阶(🔲)层(👛)的描(😳)述(👗)——可以说是阶级关(guān )系——也让人想起(qǐ )了(le )英国电影(yǐng )中的(de )社会(❄)现(💁)实主义传统(tǒng )。然而，最重要的是，在(🐱)影像中不(bú )同(🐅)层(⛅)次的电影(🈸)历史参(🛌)考文献之下(xià )，当(dāng )前(👆)许(xǔ )(🔍)多政治(🗒)关(🏆)联(🐣)正(🌒)在等待被发(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.

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