-
16集全
金秀賢,金智媛,樸成焄,郭東延,李主儐,宋仲基,金甲洙,李美淑,鄭鎮榮,羅映姫,金貞蘭,全裴修,黃英熙,金道賢,張允柱,金周靈,尹普美,吳正世
-
8集全
林依晨,許瑋甯,賀軍翔,柯震東,路斯明
-
21集全
李現,周雨彤,劉琳,方芳,吳俊霆,張熙唯,萬鵬,張弛,牛超,田玲,徐幸,張壘
-
第37集完結
楊紫,許凱,牛駿峯,許齡月,張耀,何賽飛,姚安濂,吳彥姝
-
更至39集
胡一天,張婧儀,吳希澤,盧昱曉,邊程,胡杏兒,劉佳,海一天,楊明娜,高雄,田淼,方楚彤,胡春楊,梁芷菁,黃思瑞,王喬熙,陳恆,張舒妍,鍾小淇,王麗娜,姚筱筱,殷玥
-
完結
趙麗穎,林更新,辛雲來,何與,李嘉琦,曾黎,宣璐,劉冠麟,邱心志,黃澄澄,徐海喬,董潔,宋寧峯,周峻緯,王伊瑤,魏子昕,李子峯,黃羿,胡丹丹,周小川,陳震
-
更新至8集
邊佑錫,金惠奫,宋建熙,李承協
-
更新至1102集
田中真弓,岡村明美,中井和哉,山口勝平,平田廣明,大谷育江,山口由裏子,矢尾一樹,長島雄一,池田秀一,古川登志夫,古谷徹,大塚周夫,津嘉山正種,草尾毅,大場真人,寶龜克壽,園部啓一,柴田秀勝,中博史,阪口大助,竹內順子,千葉繁,三石琴乃,掛川裕彥,堀秀行,田中秀幸,大友龍三郎,有本欽隆,大塚明夫,玄田哲章,小山茉美,土井美加,野田順子,渡邊美佐,野上尤加奈,林原惠美,水樹奈奈,園崎未惠,西原久美子,久川綾,澤城美雪,池澤春菜,齋藤千和,神谷浩史,浪川大輔,森久保祥太郎,石田彰,高木涉,檜山修之,子安武人,
-
更新至94集
暫無
-
全24集
郭品超,張淼怡,任運傑,吳逸伽,劉書源,宋沐心,孔琳
-
HD
崔岷植,金高銀,柳海真,李到晛,全鎮基,洪瑞俊
-
第40集完結
白宇帆,於和偉,夏夢,隆妮,王驍,馮嘉怡,王勁松,楊子姍,陳瑾,塗松巖,章申,張建亞,邢岷山,李穎,節冰,李洪濤,姚一奇,冷紀元,劉若嫣,封新天,顧宇峯,虞金澤,董晴,嚴永瑄,高蓓蓓,楊雨婷,文靜,彭賽,都蘭,曲高位,韋奕波,許國棟,張衣,牛北壬,姚卓君
-
更新至24集
陳展鵬,林夏薇,黃智賢,蔣祖曼,張頴康,劉佩玥,方力申,馮盈盈,高鈞賢,姜大衛,麥玲玲,梁小冰,李國麟,陳嘉輝,張雷,黃庭鋒,郭柏妍,鄭俊弘,董敬文,李啓傑,林子超,趙璧渝,海俊傑,容天佑,朱匯林,張子豐,張本立,尹光,菊梓喬,黃韻材,陳少邦,羅毓儀,莊思明,謝雪心,林偉,李龍基,黎燕珊,潘志文,劉桂芳,陳狄克,吳香倫,陳榮峻,梁皓楷,阮嘉敏,周麗欣,吳紫韻,杜燕歌,姚宏遠,衛志豪,黃耀煌,方紹聰,王菲,黃嘉樂,林熹瞳,吳沚默,劉緯民,王賢志,馬國明,炎明熹,杜大偉
-
更新至11集
徐璐,魏哲鳴,劉些寧,吳崇軒,程金銘,楊舒亦,鄧靖弘
-
更新至161集
康沃爾漁村的風景明信片田園詩誤導了人們。雖然過去釣魚是一種養家餬口的方式,但如今富有的倫敦遊客紛紛下山,取代了當地人,當地人的生計因此受到威脅。史蒂文和馬丁兄弟的關係也很緊張。馬丁是一個沒有船的漁夫,因爲史蒂文開始用它來爲一整天的遊客提供更賺錢的旅遊。他們賣掉了這座家庭別墅,現在看來,最後一場戰鬥是和新主人在海邊的停車位上展開。然而,情況很快就失控了,而不僅僅是因爲車輪夾鉗。
Bait是一種黑白,手工製作,16毫米膠片製作的電影。許多關於魚、網、龍蝦、長靴、繩結和漁籃的特寫鏡頭讓人想起了蒙太奇景點的理論。對不同社會階層的描述——可以說是階級關係——也讓人想起了英國電影中的社會現實主義傳統。然而,最重要的是,在影像中不同層次的電影歷史參考文獻之下,當前許多政治關聯正在等待被發現。
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.