康沃尔(ěr )渔村(cūn )的风景明信(xìn )片(piàn )田园(🍩)诗误导了人们。虽然过(guò )去钓鱼是(🎺)一种养家糊(hú )口的(de )方式，但如今富有的伦敦游客纷纷下(xià )(🎏)山，取代了当地人，当地(🕔)人的生计因(yīn )此受到威(wēi )胁。史蒂(✳)文(wén )和(hé )(🥄)马丁兄(xiōng )(🏐)弟的关系也(yě )(📞)很紧张(🥞)。马丁是(shì )一个(😻)没(🚸)有船的渔夫(fū )，因为(wéi )史蒂(dì )文开始用它来为一整(zhěng )天的(📯)游客提(⏯)供更赚钱的(💱)旅游。他们(men )卖掉了这座(🙂)家(📙)庭别(✋)墅(shù )，现在看(kàn )来，最(zuì )后(👓)一场战斗是和新主(🍄)人(rén )在海边(👃)的(de )停车位上(shàng )展开。然而(ér )(⛳)，情况很快就失控了(le )，而不仅仅是因为车轮夹(💹)钳。Bait是(shì )(💍)一(🚗)种黑白(😊)，手工制作，16毫(🥋)米胶片制(💅)作(zuò )的电影。许多关(🔈)于鱼、网(🎥)、(🐡)龙虾、长靴(xuē )、绳结(📛)和渔篮(lán )的特写镜头(tóu )让人想起(qǐ )了蒙太(tài )奇景点(🔎)的(🌂)理(lǐ )论。对不同社会阶层的描述(⏳)——(🚽)可(kě )以说是(shì )阶(🕕)级(jí )关系—(📤)—(🚻)也让人想起了英国电影中的社会现实(🎴)主(😉)义传统。然而，最重(⏺)要的是(👅)，在影(yǐng )(🔬)像中不(bú )同层(🈂)次的电影历(💛)史(shǐ )参考文献之下(💨)，当前(🛃)许多政治关联正在等(děng )待被(🏗)发现(xiàn )。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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.