康沃(👷)尔渔村的风景明信(xìn )片田(🐌)园诗误(🌰)导了人(rén )们。虽然过(guò )去(🤢)钓(🤴)鱼是一种(zhǒng )养(🎹)家(jiā )(🆖)糊(🥈)口(kǒu )的(de )方式，但(dàn )如今富有的(de )伦敦游(🌫)客纷(⏬)纷下(🎏)山，取代了当(dāng )地人(🖲)，当地人的生计因(yīn )此受到(dào )(🕖)威(wēi )胁。史蒂文和马丁兄弟的(de )关(🕌)系也很(hěn )(🎿)紧张。马(😚)丁(🍮)是一(yī )个没有船(🚑)的(🐶)渔夫，因为史蒂文(wén )(💞)开始用它(📎)来为一(yī )整天的(de )游客(kè )提(⏯)供更(🖲)赚钱(❔)的旅游。他们卖掉了这座家(📙)庭别墅(shù )，现在看(🤸)来，最(㊙)后(👓)一(🙀)场战(zhàn )斗是和新主人在海边(biān )的停车(🚻)位上展开。然(rán )而，情况很快就(jiù )失控(🚴)了(le )，而不仅(🌮)仅(jǐn )是(shì )因(yīn )为车轮夹(💹)钳(qián )。Bait是一种黑(🦇)白，手工制(zhì )作，16毫米胶片制作(🌼)的电影。许(xǔ )多关于鱼、网、龙虾、长靴(😙)、绳结和渔(yú )篮(💏)的特写镜头让人想起(🍽)了蒙太(🏴)奇景点的理论。对不同社会阶(jiē )层的(de )描(miáo )述(shù )——(🚽)可(kě )以说是阶级关系——也让(🔪)人想起(🛃)了英国电影中的社(shè )会现实主义传(chuán )统。然而(ér )，最重要的是(shì )，在(zài )(🐈)影像(🍯)中不(bú )同层次(🚪)的电影(yǐng )历史(shǐ )参(😲)考文献之下，当前许多(duō )政治(🎞)关(guān )联(lián )正(zhèng )在等(děng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.