Jenkin succumbs to the infatuation with a neo-formalist cinematic rendering of a realist setting and thus at points he over-indulges in the suspense-building editing. Yet this is an impressive feature both due to its parallel syntagma and the synecdochies of non-linear diegesis but, primarily, due to the integrity of his homage to Bressonian ellipses, the pathos of the characters-actants and the breakdown of space.
Twice now I have purchased tickets to see Bait and not made it to the screenings. A shame, as it's eclecticism would have been a rewarded in a cinema. The worst conditions tho (my work monitor) couldn't conceal its inventiveness & character, an expressionistic Western in which sounds and images bleed into the psychology of the environment. A simple message, just not in the telling.
A fisherman without a boat. A fishing boat for tourists. Brexit. Class conflicts. Outstanding B/W. Deep close-ups. Off-sync dialogues. There is an anachronistic tone that is both surprising and fascinating. "I'm talkin 'about fishing, not fucking hospitality". An excellent editing job. Intriguing use of sound. An experimental exploration of handmade cinema.
Jenkin shoots BAIT in the style of silent cinema and on scratchy 16mm stock. This, and the jagged, non-linear editing give the film a unique atmosphere and a dreamlike almost nightmarish presence, which elevate the drama of gentrification on the Cornish coast. Unique and compelling.
3.7 stars. Dialectical editing to please the ghost of John Grierson. Nice to see a film set in coastal Britain that is not a folk horror... this is very much England rather than New England. I thought it had some of that old school male Leftist chauvinism that holds that labour that has traditionally fallen to women (cooking; child rearing; hospitality etc.) is not real work. The ending at least moves beyond this.
It packs a punch by offering equal doses of fascination and disquietness, and deserves praise for combining extraordinary visuals, a captivating intriguing mood, intelligent filmmaking techniques, and compelling performances. An unmissable avant-garde gem is here folks!
Outsanding!! A brilliant, hypnotically strange and fascinating film. Certainly a modern British masterpiece. It tackles tensions between local residents and hordes of tourists in a Cornish fishing village, all within the context of the decline of traditional fishing industries, the gentrification and 'AirBnB-ification' of Cornwall. A perfect match of style of substance.
This is a brilliant meditation on identity (both individual and shared) It is edited in such a way that it subliminally suggests things before they happen, this left me with the uncanny feeling that I was watching a story I already knew. I loved everything about it thematically and aesthetically with the hand processed film and the brilliant soundscapes all combining to produce a film like I have never seen before
Saw this in a 30 seat screening room the same weekend I saw 'Ad Astra' in IMAX. This was a better film. I thought the style and method would be pretentious, but actually it just inspired me to buy a camera and tell a story. Brexit, money, family, culture, honour, editing (wow, editing), score; just a great film that stays in the mind and helps you understand the world you think you know.
A socially relevant film for our troubled times in Brexit UK, with many communities feeling neglected as neoliberalism tears up people's sense of community and being. A lone figure refuses to adapt as tensions escalate with a number of great scenes as the film heads towards boiling point. Largely filmed with a cinema verite feel, the best sequences are when it utilises editing and sound in more experimental ways.
A simple storyline, executed in a bold and original way, to create an atmosphere that feels truly original amongst modern film-fare. There is a fantastic visual texture, dialogue delivered as you've never quite heard it, and an undercurrent of comedy — and finally tragedy. It's refreshing to see a filmmaker think out of the box like this.