我这一辈子

　　康沃尔渔村的风景明信片田园诗误导了人们。虽然过去钓鱼是一种养家糊口的方式，但如今富有的伦敦游客纷纷下山，取代了当地人，当地人的生计因此受到威胁。史蒂文和马丁兄弟的关系也很紧张。马丁是一个没有船的渔夫，因为史蒂文开始用它来为一整天的游客提供更赚钱的旅游。他们卖掉了这座家庭别墅，现在看来，最后一场战斗是和新主人在海边的停车位上展开。然而，情况很快就失控了，而不仅仅是因为车轮夹钳。
　　Bait是一种黑白，手工制作，16毫米胶片制作的电影。许多关于鱼、网、龙虾、长靴、绳结和渔篮的特写镜头让人想起了蒙太奇景点的理论。对不同社会阶层的描述——可以说是阶级关系——也让人想起了英国电影中的社会现实主义传统。然而，最重要的是，在影像中不同层次的电影历史参考文献之下，当前许多政治关联正在等待被发现。
　　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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.

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吴林艳和尚冠英从小在一起长大，儿时的小伙伴，后来吴林艳搬家从此天各一方，音信全无。但也时常想念着对方，后来同来到一个城市，偶遇对方最终喜结连理。

　　大學放榜前一天，小春無意間發現了家裡的大祕密。即將成年到異地求學，弟弟夏仔沒放過這最後與姊姊相處的夏天。家鄉的人事物依舊，面對眼前未知的未來，小春既期待又怕受傷害。成年的滋味，竟如此超乎預期地又澀又甜。
　　從平凡的台灣家庭孕育出後韻無窮的成長故事，勾勒不善表達情感的家人面對分離時那不捨與疼惜之情，藍葦華、鄭有傑演出精采，年輕演員亦不遜色，細膩刻畫女孩面對成年、離家時的不安與期待。