康沃尔(ěr )渔村(cūn )的风景明信片田园诗误导(dǎo )了人们。虽然(🔱)过去钓鱼(🍥)是(🎺)一种(zhǒng )养(yǎng )家糊口的方式(🍖)，但如今(jīn )富有的伦敦游客(kè )纷纷下山，取代了当(dāng )地人(rén )，当地人的生(shēng )计因(yīn )此受到威胁。史蒂文和(hé )马丁兄弟(dì )的关系(xì )也很紧(jǐn )张。马丁是一个没有(yǒu )船的渔(yú )夫，因为(wéi )史蒂文开(⏺)始用它来为一(🔩)整天的游(yóu )客提供(gòng )更(gèng )赚(🔢)钱的旅游(yóu )。他们卖掉了(💻)这(zhè )座家(jiā )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(zhǎn )开。然而，情况很快(kuài )(🕐)就失(shī )控了，而不(🕯)仅仅是(shì )因(🤘)为(🈁)车轮(💝)夹钳(💔)。Bait是一种黑(hēi )白(bái )，手工制作(🌹)，16毫米胶(jiāo )片(piàn )(🌪)制作(zuò )的电影(📟)。许多(😝)关于鱼、网、龙(lóng )(🈺)虾、长靴、绳结和渔(👌)篮(lán )的(de )特(tè )写镜头让(💸)人(rén )想(🐞)起了蒙太(tài )奇景点的理论。对不同社会(huì )阶(🔥)层(céng )的描述(⏳)——可(🎐)以(yǐ )说是阶级关(👗)系——也让人(🐂)想(👚)起了(⏺)英国(🧘)电影中(zhōng )的(de )(📬)社(shè )会现(xiàn )实主(zhǔ )(😉)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(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.