disappearance—defending his family's fishing heritage before the twin incursions of tourism and poverty. All rights reserved.PopMatters is wholly independent, women-owned and operated. It's as far removed from his manic Kernow King as is possible to imagine. However, A pertinent, leftfield take on class warfare. Lizotte, Chloe. The opening hubbub of deafening fishing boat engines, flailing ropes, harbour-chucked lobster pots is more akin to the industrial drone of David Lynch's Eraserhead than an episode of Wycliffe, while certain scenes bring to mind everyone from Murnau (Sunrise, Nosferatu) to Eisenstein (there is an awe-inspiring moment featuring Isaac Woodvine removing fish from a net while drowned in light, which could come straight from Battleship Potemkin). Modern-day Cornish fisherman Martin (Edward Rowe) is struggling to buy a boat while coping with family rivalry and the influx of London money, Airbnb and stag parties to his harbour village. Shooting locations include Charlestown and West Penwith, in Cornwall. While the visuals may hark back to another time, the story couldn't be more contemporary. Reception. Choice line: “How's she going to suck his dick with that plum in her mouth?”. Given the current political fixation with the inviolability of the border, it is perhaps to be expected that artists are drawn outwards, to both the frightening otherness and the blissful anonymity of the ocean.

Jenkin (a prolific short-maker) uses his social set-up to create a symbolic battle that resonates in a post-austerity UK where the gulf between rich and poor only seems to grow, yet his characters are shaded by enough humanity to make their reactions unpredictable. And yet, Jenkin rarely deals in readymade caricature; nor does the film indulge in the kind of political invective of Ken Loach at his most didactic. This is revealed through the actions of Martin's brother, Steven (Giles King), whose decision to use the family boat to offer 'coastal cruises' to incoming revellers contrasts with the self-imposed austerity of Martin's operation. Mantgani, Ian. Bait is an absolute triumph - if you care about Cornwall, its people, its arts, its history and its future, see this film. Aping silent cinema in its aesthetic and intensity, it turns the mounting tensions of a Cornish fishing village into…, Family films in cinemas this week include Two by Two and The Secret Garden, Enter the competition for a chance to hangout with The Rock. Every morning, he solemnly sets out his nets across the beach, snagging a paltry amount of fish that he duly sells to friends and neighbours. Now available on DVD/Blu-Ray and streaming services, there is no better time to revisit one of the more quietly arresting releases of 2019.

I mean, have you seen some of those Cormac workers in the summer? As an oblique companion piece, one might give a nod to Egger's The Lighthouse: itself a black and white tale of oceanic emotions, in which paranoia and claustrophobia are perversely offset against the limitless expanse of the sea.

Martin (Rowe) is a boat-less Cornish fisherman trying to restore his family fortunes by catching fish any way he can. The comedian Edward Rowe stars as Martin, a gruff, taciturn fisherman wrangling tatty nets and selling mackerel to the local pub as he grumbles around town with a roll-up permanently chuffed in his lips, squirreling away tenners in a biscuit tin to save up to buy a boat. It's no surprise that Ed Rowe bagged a top agent following his starring role in Bait. © 1999-2020 PopMatters.com. Sight & Sound, it is a film that 'feels pounded into existence by hand, or possibly belched up by an angry sea.'.

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