康(🌠)沃尔渔村的(✒)风景明信片田园诗误(wù )导(🃏)了人们(men )。虽然过(guò )去钓(🤴)鱼(yú )是一种养家(🆖)糊(hú )口的方式，但如今富有的伦(lún )敦游客纷(fēn )纷下山，取代(♑)了(le )当地人(rén )，当地人的生(🎩)计(jì )因(yīn )此(🛍)受到威胁。史蒂文和马丁兄弟(🚥)的关(guān )系(xì )也很紧张(🥞)。马丁是一个没有船(chuán )的渔夫(fū )，因为史蒂(🔊)文(wén )开始用(yòng )它来(lái )为一(🔩)整天(🌚)的(📯)游客提供更(gèng )赚钱的旅游。他们(㊗)卖(mài )(🥎)掉(diào )了(le )(💻)这(🗞)座家庭别墅，现(xiàn )在看来，最(zuì )后一场(chǎng )战(zhàn )斗(⛓)是和新主人(rén )在海边的停(tíng )车(🚻)位(🤲)上展开。然(👺)而，情况很(🥕)快就(jiù )失控了，而(⚾)不仅仅是因为车轮夹钳。Bait是一种(zhǒng )黑(🦇)白，手工(🏻)制(zhì )作，16毫米(mǐ )胶片(piàn )制作的电影(📟)。许(💯)多(😝)关于鱼、网(wǎng )(🎥)、龙虾、长(🔍)靴、(🤥)绳结和渔篮(💏)的特写镜头让人(🥅)想起(qǐ )了(🏃)蒙(🔞)太(🏴)奇景(jǐng )点(🔎)的理论。对(duì )不同(tóng )社会阶层(céng )的描述(shù )——可以(🍁)说是阶级关系——也让人想起(qǐ )了英国电影中的社(✖)会现实(shí )主义传统(tǒng )。然而(ér )(❄)，最重(chóng )(⏺)要的是，在影像中(🔍)不(bú )同层次(cì )的电(diàn )影历史参考(🐅)文(⛅)献之下，当前许多政治关联正(zhèng )在(♊)等(👆)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.