BAIT
This program is only available in the U.S., Canada, and Italy with a limited number of virtual tickets.
The short film LIFE: PLASTIC WRAPPED will play before the feature.
The struggle between those who created the dream and those who want to purchase it.
Shot on 16mm black and white film and made to look like something from the 1950s, BAIT tells the modern story of a Cornwall fishing village under siege from gentrification.
Martin Ward is a fisherman without a boat; his brother Steven has repurposed their father’s fishing vessel into a trashy, sightseeing boat, driving a wedge between them. Tourists crowd the bars, complain about the noise from trawlers, line their refrigerators with prosciutto and Prosecco and drive locals from their homes. Sound familiar? Welcome to life in a tourist town.
Starring Edward Rowe, Mary Woodvine and Simon Shepherd.
“A visually stunning and formally adventurous swirl of pure cinema.” - Mark Kermode
Director Bio
Described by critic Mark Kermode as… “A visually stunning and formally adventurous swirl of pure cinema” Mark’s previous film Bronco’s House was his first foray into hand-processed celluloid narrative filmmaking. The film screened at festivals worldwide and was a finalist at The Chicago Blow Up Festival.
His handmade short film works have been promoted by the British Council since 2016 with The Road to Zennor being awarded the Best Experimental Film prize at the London Short Film Festival in 2017, and The Essential Cornishman being given an Honourable Mention at the Berlin Experimental Film Festival the same year. His latest short film Vertical Shapes in a Horizontal Landscape, screened in competition at the Dinard Film Festival, BFI London Film Festival and Aesthetica Short Film Festival in 2018.
The recipient of the Nick Darke Award for Writing (2014) Mark is currently developing a biopic of St. Ives painter (and great, great, great Grandfather) Alfred Wallis. He is an associate of Falmouth University where he lectures Film, is the author of the Silent Landscape Dancing Grain 13 Film Manifesto, and is a member of The Newlyn Society of Artists.
Want to go "BEYOND THE FILM" with us? Here's some questions to spark a conversation:
1) The film BAIT is clearly an homage to the "Kitchen Sink Realist Movement"- a British film movement from the late 1950's-early 1960's that emphasized gritty social realism (contrasted with earlier film escapism) and featured mostly working-class, "angry young man" protagonists disillusioned with modern society. (Examples include the films of Karel Reisz, Tony Richardson, and Jack Clayton). What modern political and cultural critiques do we think Dir. Mark Jenkin is invoking through the lens of this earlier film movement?
2) Dir. Mark Jenkin unconventionally shot BAIT on vintage hand-cranked 16mm cameras, grainy hand-processed film, short segments for heightened editing, and without sound (effectively a silent film with the dialogue, music, and effects dubbed in after) to create a unique viewing experience that alternates between the dream-like and the disorienting. How do you think this effect contributes to the central themes of BAIT- namely, alienation, class contentions and the failure to understand one another?
- Year2019
- Runtime89 minutes
- CountryUK
- DirectorMark Jenkin
BAIT
This program is only available in the U.S., Canada, and Italy with a limited number of virtual tickets.
The short film LIFE: PLASTIC WRAPPED will play before the feature.
The struggle between those who created the dream and those who want to purchase it.
Shot on 16mm black and white film and made to look like something from the 1950s, BAIT tells the modern story of a Cornwall fishing village under siege from gentrification.
Martin Ward is a fisherman without a boat; his brother Steven has repurposed their father’s fishing vessel into a trashy, sightseeing boat, driving a wedge between them. Tourists crowd the bars, complain about the noise from trawlers, line their refrigerators with prosciutto and Prosecco and drive locals from their homes. Sound familiar? Welcome to life in a tourist town.
Starring Edward Rowe, Mary Woodvine and Simon Shepherd.
“A visually stunning and formally adventurous swirl of pure cinema.” - Mark Kermode
Director Bio
Described by critic Mark Kermode as… “A visually stunning and formally adventurous swirl of pure cinema” Mark’s previous film Bronco’s House was his first foray into hand-processed celluloid narrative filmmaking. The film screened at festivals worldwide and was a finalist at The Chicago Blow Up Festival.
His handmade short film works have been promoted by the British Council since 2016 with The Road to Zennor being awarded the Best Experimental Film prize at the London Short Film Festival in 2017, and The Essential Cornishman being given an Honourable Mention at the Berlin Experimental Film Festival the same year. His latest short film Vertical Shapes in a Horizontal Landscape, screened in competition at the Dinard Film Festival, BFI London Film Festival and Aesthetica Short Film Festival in 2018.
The recipient of the Nick Darke Award for Writing (2014) Mark is currently developing a biopic of St. Ives painter (and great, great, great Grandfather) Alfred Wallis. He is an associate of Falmouth University where he lectures Film, is the author of the Silent Landscape Dancing Grain 13 Film Manifesto, and is a member of The Newlyn Society of Artists.
Want to go "BEYOND THE FILM" with us? Here's some questions to spark a conversation:
1) The film BAIT is clearly an homage to the "Kitchen Sink Realist Movement"- a British film movement from the late 1950's-early 1960's that emphasized gritty social realism (contrasted with earlier film escapism) and featured mostly working-class, "angry young man" protagonists disillusioned with modern society. (Examples include the films of Karel Reisz, Tony Richardson, and Jack Clayton). What modern political and cultural critiques do we think Dir. Mark Jenkin is invoking through the lens of this earlier film movement?
2) Dir. Mark Jenkin unconventionally shot BAIT on vintage hand-cranked 16mm cameras, grainy hand-processed film, short segments for heightened editing, and without sound (effectively a silent film with the dialogue, music, and effects dubbed in after) to create a unique viewing experience that alternates between the dream-like and the disorienting. How do you think this effect contributes to the central themes of BAIT- namely, alienation, class contentions and the failure to understand one another?
- Year2019
- Runtime89 minutes
- CountryUK
- DirectorMark Jenkin