康沃(wò )尔渔村的风景明信片田园(yuán )诗误导了人们(men )。虽然过去钓鱼(yú )是一种(🎗)养家糊口的方式，但如今(jīn )富(fù )(🥩)有(yǒu )的(😧)伦敦游客纷纷(fēn )下(🎏)山，取代(dài )了(le )当地人(🖲)，当地(🕔)人(rén )的生(shēng )计(jì )(🤷)因此(cǐ )受到威胁。史蒂文和马(🛹)丁(dīng )兄弟的关系也很紧张。马丁是一个没(méi )有船(🚑)的渔夫，因为史蒂(dì )文开始(shǐ )用它来为(wéi )一整天的(de )游客(🛑)提供(😞)更赚(zuàn )钱的旅游(🌑)。他们卖(mài )掉了(💻)这(zhè )座家(📙)庭(🔝)别墅(🐑)，现(🙌)在看来，最后一场战(zhàn )斗(dòu )(⛓)是和新主人在海边的停车(chē )(🚻)位上展开。然而(ér )(⛳)，情况很快(🕐)就失(🧟)控(kòng )了(le )(🧣)，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(xǔ )多关于鱼(yú )、网、龙虾、(📧)长靴、绳(shéng )结(📛)和渔(👌)篮的(de )(📸)特(🥤)写镜头让人想(🐞)起了(le )蒙太(🏴)奇景(jǐng )点的(de )理论。对不(🆙)同社会阶层的(🌸)描(miáo )述——可(kě )(🎐)以说是阶级关(👗)系——也让人(🐂)想(xiǎng )起了英国电影中的社会现实主义(🚤)传(chuán )统。然(🏸)而，最(🈺)重要(🧥)的是，在影像中(zhōng )不同层(céng )次的(de )电影历史参考文(wén )献(🏡)之下，当(dāng )(🙅)前许多政治(zhì )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.