“Bait,” British filmmaker Mark Jenkin’s breakout feature, could well be considered a horror movie. Set in a quaint little fishing enclave off the Cornish coast, where the ship decks are rickety and the townhouses’ whitewash ever-peeling, the knotty fear of loss is ever-present: of history, of possession, of tradition, of heritage, of liberty.
It manifests formally in the deep chiaroscuro of Jenkin’s monochrome images, shot on 16mm film, richly textural, and ever cast in shadow; in the distorted sound mix, voices are heard as if captured through a shoddy synthesizer, like painful memories catching up to the present.
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