康沃尔渔(🆓)村的风(fēng )(🐽)景明信片田(tián )园诗误导了人们(men )。虽然过去钓(diào )鱼是一(yī )(🔧)种(zhǒng )(🎗)养家糊(🥈)口的方式(shì )，但如(🗼)今富(fù )有(yǒu )的伦敦游(🌫)客纷(fēn )纷下山(❣)，取(🏇)代(dài )了(le )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(wéi )史蒂(🔊)文开始(shǐ )(🚢)用(🌙)它来为一整天的游客提供(😞)更(gèng )赚(🔢)钱的旅游(yóu )。他们卖掉了这(zhè )(🗞)座家庭(🔝)别墅，现在(zài )(🤠)看(🤸)来(lái )，最后一场战斗是和新主(zhǔ )人(rén )在(zài )海边的停车位(🤲)上(shàng )展(zhǎn )开。然(rán )而(ér )，情况很快就失控了，而不仅仅是因为车轮夹钳(qián )。Bait是一(yī )种黑白，手工制作，16毫米胶(jiāo )片(piàn )制(zhì )作的电影。许多关(guān )于(🏒)鱼、网(🎥)、龙虾(xiā )、长靴(😙)、绳结和渔篮的(📸)特写镜头让人想起了蒙太(🏴)奇(🚲)景(jǐng )点的理论。对不(🆙)同社会阶层的描述——可以说(🔲)是(👛)阶级(jí )关系——也让(ràng )人(rén )想(👚)起(🛃)了(⏺)英(yīng )国电(diàn )影(yǐng )中(zhōng )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(diàn )影历史(👼)参(😲)考文献(🏡)之下(💨)，当前许(xǔ )多政治(zhì )关(guān )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.