康沃尔(ěr )渔村的风景明(míng )(📼)信(xìn )片田(🐌)园诗误导了人们。虽(🛍)然过去钓(diào )鱼(🍥)是(shì )一种养家糊口的(de )方式(🍖)，但如(🗼)今富有(yǒu )的伦敦(📿)游客纷纷下山，取代(♑)了当地人，当地(dì )人的生计因此受到威胁。史蒂文和(🥄)马丁兄弟的(🐖)关系也很(hěn )紧张(zhāng )。马(mǎ )丁是一(yī )个没(🚸)有船(🚑)的渔(🥀)夫，因为(wéi )史蒂(🔊)文开始(shǐ )用(yòng )它(📎)来为一整天的游客提供更赚钱的旅(lǚ )游(🌑)。他(🌊)们卖掉了这座(zuò )家庭(tíng )别墅(🐑)，现在(🤠)看(🤸)来，最后一场战斗是(🎾)和(hé )新(xīn )主人在海边(👃)的(de )停(tíng )车位上(🕙)展(⛳)开(😍)。然而，情况(🎋)很快(kuài )就(🐀)失控了，而不(🕯)仅仅是(shì )因为车轮夹钳(qián )。Bait是一(🚗)种黑白(bái )，手工(gōng )制作，16毫米胶片制作的电(diàn )影。许(xǔ )多关于鱼、(💿)网(🎥)、龙(lóng )虾、长(zhǎng )靴、绳结和(🔤)渔篮(lán )的特写(xiě )镜(jìng )头让(💸)人想(🐞)起了蒙太奇景(📐)点的(de )理论。对(🐖)不(bú )同社会阶层的描(miáo )(📞)述——可以说(🔲)是(shì )阶级关(👗)系——也让人想(👚)起了(⏺)英(yīng )国(🧘)电影中的社会现实主(zhǔ )义传统(🍹)。然而，最重要的是(👅)，在影像中(zhōng )不(bú )同(tóng )层(🈂)次的(de )电影(yǐng )历史(👼)参考文献之下，当前许(xǔ )多政治关联正(🐇)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.