亚洲欧洲久久,a级黄色毛片视频,夜夜操网站,免费日本在线视频,国产a一级,国产在线精品成人一区二区三区,国内精品免费视频自在线

電影誘餌2019

誘餌2019

餌(臺(tái))

影片信息

  • 片名：誘餌2019
  • 狀態(tài)：HD中字
  • 主演：Morgan/Val/Baker/Georgia/Ellery/Martin/Ellis/Chloe/Endean/Stacey/Guthrie/Jowan/Jacobs/Giles/King/Edward/Rowe/西蒙·謝潑德/特里斯坦·斯特羅克/瑪麗·伍德維恩/
  • 導(dǎo)演：馬克·詹金/
  • 年份：2019
  • 地區(qū)：英國(guó)
  • 類(lèi)型：劇情/情電影/
  • 時(shí)長(zhǎng)：內(nèi)詳
  • 上映：2019-02-09
  • 語(yǔ)言：英語(yǔ)
  • 更新：2024-08-07 16:03
  • 簡(jiǎn)介：康沃爾漁村的風(fēng)景明信片田園詩(shī)誤導(dǎo)了人們。雖然過(guò)去釣魚(yú)是一種養(yǎng)家糊口的方式，但如今富有的倫敦游客紛紛下山，取代了當(dāng)?shù)厝?，?dāng)?shù)厝说纳?jì)因此受到威脅。史蒂文和馬丁兄弟的關(guān)系也很緊張。馬丁是一個(gè)沒(méi)有船的漁夫，因?yàn)槭返傥拈_(kāi)始用它來(lái)為一整天的游客提供更賺錢(qián)的旅游。他們賣(mài)掉了這座家庭別墅，現(xiàn)在看來(lái)，最后一場(chǎng)戰(zhàn)斗是和新主人在海邊的停車(chē)位上展開(kāi)。然而，情況很快就失控了，而不僅僅是因?yàn)檐?chē)輪夾鉗?！　ait是一種黑白，手工制作，16毫米膠片制作的電影。許多關(guān)于魚(yú)、網(wǎng)、龍蝦、長(zhǎng)靴、繩結(jié)和漁籃的特寫(xiě)鏡頭讓人想起了蒙太奇景點(diǎn)的理論。對(duì)不同社會(huì)階層的描述——可以說(shuō)是階級(jí)關(guān)系——也讓人想起了英國(guó)電影中的社會(huì)現(xiàn)實(shí)主義傳統(tǒng)。然而，最重要的是，在影像中不同層次的電影歷史參考文獻(xiàn)之下，當(dāng)前許多政治關(guān)聯(lián)正在等待被發(fā)現(xiàn)。　　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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
2019/英國(guó)/劇情 情電影 /2019-02-09上映/英語(yǔ)/

  • 關(guān)注公眾號(hào)觀影不迷路

  • 掃一掃用手機(jī)訪問(wèn)

 立即播放 云播資源

選擇來(lái)源

  • 云播資源
3.0
網(wǎng)友評(píng)分
  • 很差
  • 較差
  • 還行
  • 推薦
  • 力薦
豆6.3965次評(píng)分
3.0
網(wǎng)友評(píng)分
  • 很差
  • 較差
  • 還行
  • 推薦
  • 力薦
豆6.3965次評(píng)分
給影片打分《誘餌2019》
  • 很差
  • 較差
  • 還行
  • 推薦
  • 力薦
我也要給影片打分

掃一掃用手機(jī)訪問(wèn)

播放列表

 當(dāng)前資源來(lái)源云播資源 - 在線播放,無(wú)需安裝播放器
 倒序

劇情簡(jiǎn)介

康沃爾漁村的風(fēng)景明信片田園詩(shī)誤導(dǎo)了人們。雖然過(guò)去釣魚(yú)是一種養(yǎng)家糊口的方式，但如今富有的倫敦游客紛紛下山，取代了當(dāng)?shù)厝?，?dāng)?shù)厝说纳?jì)因此受到威脅。史蒂文和馬丁兄弟的關(guān)系也很緊張。馬丁是一個(gè)沒(méi)有船的漁夫，因?yàn)槭返傥拈_(kāi)始用它來(lái)為一整天的游客提供更賺錢(qián)的旅游。他們賣(mài)掉了這座家庭別墅，現(xiàn)在看來(lái)，最后一場(chǎng)戰(zhàn)斗是和新主人在海邊的停車(chē)位上展開(kāi)。然而，情況很快就失控了，而不僅僅是因?yàn)檐?chē)輪夾鉗?！　ait是一種黑白，手工制作，16毫米膠片制作的電影。許多關(guān)于魚(yú)、網(wǎng)、龍蝦、長(zhǎng)靴、繩結(jié)和漁籃的特寫(xiě)鏡頭讓人想起了蒙太奇景點(diǎn)的理論。對(duì)不同社會(huì)階層的描述——可以說(shuō)是階級(jí)關(guān)系——也讓人想起了英國(guó)電影中的社會(huì)現(xiàn)實(shí)主義傳統(tǒng)。然而，最重要的是，在影像中不同層次的電影歷史參考文獻(xiàn)之下，當(dāng)前許多政治關(guān)聯(lián)正在等待被發(fā)現(xiàn)。　　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.

為你推薦

 換一換

最新資訊

更多

評(píng)論

共 0 條評(píng)論