康沃尔渔村的(de )(✒)风景(🥇)明信(xìn )片田(🐌)园(yuán )诗误(🌰)导了人(rén )(😘)们。虽然(rán )过(🕰)去钓(🤴)鱼是(shì )一(yī )(🔧)种养家糊口的(🛤)方式，但如今富有的伦敦游(🌫)客(kè )纷纷(fēn )下山，取代了当(😎)地人，当(🐿)地人(🔸)的(de )(👑)生(shēng )计因此受到(🕖)威胁。史蒂文和马丁兄弟(dì )(🚥)的关系也很紧张。马丁(🍮)是一(yī )个没有船的渔夫，因(yīn )为史蒂文开始用它来为一整天的(de )游(🚨)客提供更赚钱的旅游。他们卖掉了这座(🙂)家(jiā )庭(tíng )别墅，现(xiàn )在看来，最后一(yī )场(chǎng )战斗是(🎾)和新(🈴)主人在海边的(de )停(tíng )车(chē )位(🤲)上(shàng )展(zhǎn )开。然(👺)而，情况很(🥕)快就失(shī )(🧟)控(🚴)了，而不仅仅是因为(wéi )车轮(lún )夹钳(💔)。Bait是一种(🐾)黑(🦇)白，手(➡)工(🏻)制(🐛)作(zuò )，16毫米胶(🃏)片制作的电影。许多关于鱼、网(wǎng )、(🐡)龙虾、(📧)长靴、绳结和渔篮的(de )特(tè )写镜头让人(rén )想起(qǐ )了(le )蒙(🔞)太(tài )奇景点的理论(lùn )。对不同社会阶(🔥)层的描述——(🚽)可以(🍁)说是阶(jiē )级关系——也让人想(xiǎng )起了英国电(💅)影中的社会现实(shí )主(zhǔ )义传统。然(🏸)而，最重(chóng )要的(de )是(shì )，在(zài )(🐈)影(yǐng )像中不(🌲)同层次的电(diàn )影历(💛)史参(cān )考文献(xiàn )(🏡)之(✒)下，当前许多政治关联正在等待(🔍)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.