康沃尔渔村的风(fēng )景明信片田(tián )(🐌)园(yuán )诗误导(dǎo )了人们。虽然过去钓(🤴)鱼是(shì )(🎺)一(🔧)种(zhǒng )养(yǎng )家糊(🥈)口的方(🌰)式，但如(rú )今富(fù )有的伦敦游客纷纷下山，取代(dài )了当地人，当(dāng )地人的生(🎩)计因此受到威胁。史蒂(dì )文和(hé )马丁兄(xiōng )弟(dì )的关系也很紧张。马(😚)丁是一(🙁)个(gè )没有船的渔夫，因为史蒂文开始(shǐ )用它来为(🚣)一整天(tiān )的游客(🛑)提供更赚钱的旅(🦗)游(🌑)。他们卖(mài )掉了这(🗞)座家庭(tíng )别墅(🐑)，现在看来，最(㊙)后一场战(zhàn )斗是和新主(zhǔ )人在海边的停车位(🤲)上展开。然(👺)而(ér )，情况很快就失控了，而不仅仅(👣)是因为车轮夹钳。Bait是一(🚗)种(zhǒng )(🐾)黑白，手(shǒu )工制(zhì )作(zuò )，16毫(🥋)米(🤷)胶片(🌪)制(💅)作的电影。许多关(guān )于(🏒)鱼、网(wǎng )、龙虾、长靴、绳结和渔(yú )篮(lán )的特(🥤)写(🔷)镜头让人想(xiǎng )起(🍽)了(🏃)蒙太(tài )(🏴)奇景(📐)点(🔎)的理论(🌱)。对(duì )不同社会阶层的描(📞)述——可以说是(👛)阶级关系(xì )——也让人想起(🛃)了英国电(diàn )影中的社会现实主(😉)义传统。然(🏸)而(ér )(❄)，最(🈺)重(chóng )(⏺)要的(🔮)是，在影像中不同(tóng )层(🈂)次的电影历史参(cān )考(kǎo )(🐅)文献之下，当前许(xǔ )多政治关(guān )(🚓)联正在(♊)等(děng )待被发(fā )(🍉)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.