诱饵2019

和同类型追车惊悚片不同，《诱饵》没有依赖单纯的肾上腺素刺激，而是用一种冷峻的罗生门式叙事，将观众拉入智力的角斗场。 剧情反转得很快，从紧张的心理博弈瞬间切换成直白的暴力反击，那种在狭小空间里随时可能暴毙的窒息感，看着确实挺揪心。如果你喜欢带点悬疑、又有点烧脑、不想看老套路惊悚片的观众，那这部绝对能戳中你的兴奋点，强烈推荐去看！。剧情故意玩弄“谁才是怪物”的套路，当你以为要走向压抑的惊悚高潮时，却又在看似柔弱的Georgia身上看到了截然不同的坚持，这种反转让人后背发凉又心生敬意。 演员乔治娜·坎贝尔与露丝·莱斯利贡献了张力十足的对手戏，两人在审讯室狭小空间内的眼神拉锯战充满了窒息感。如果你对高智商博弈和拒绝套路化的硬核犯罪题材感兴趣，这部电影绝对值得一看。

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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.

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