康沃尔渔村的风(🐽)景(jǐng )明(míng )信片田(🐌)园诗误导(dǎo )了(🕋)人们(men )。虽(suī )然过去钓鱼(yú )是一种(🎗)养家糊口(🐉)的方式，但如今(jīn )富(fù )有的(de )(😧)伦敦游(yóu )客纷纷下(🎏)山(❣)，取(🏇)代(dài )了当地(🚤)人(rén )，当地人的生计因(yīn )此(cǐ )受到威胁(👁)。史蒂文(wén )和马丁(🚉)兄弟的关系也(yě )很(hěn )紧张。马丁(dīng )是一个没有船的渔夫(🕕)，因为史蒂(🔊)文开始(🚢)用它(tā )来(lái )为一整天的游客(🛑)提供更赚钱的旅游。他们卖掉了这座家(📙)庭别(✋)墅，现在看来(lái )，最后一(🙀)场战(zhàn )斗(⛓)是和新主人在海(🤷)边的停(🔔)车位上(🕙)展开(kāi )。然而，情况很(🥕)快就失控了(le )，而(⚾)不仅仅是(shì )因为车轮夹钳。Bait是一种黑(hēi )白，手(➡)工(🏻)制作，16毫(háo )米胶(🃏)片制作的电(💹)影。许多关(guān )于鱼(🙎)、网(🎥)、龙(lóng )虾(xiā )、长靴、绳结和(🔤)渔篮(💏)的特写镜头(tóu )(♌)让人想起了蒙太奇(qí )(🚲)景点的理论。对不(🆙)同社会阶层(céng )的(de )描述(⏳)——可以说是阶级关系—(📤)—也让人想起了英(👩)国(🧘)电(💅)影中的社会(🕺)现实主(zhǔ )(😉)义传统。然而，最(zuì )重要的(🔮)是，在(zài )影像(xiàng )中不(bú )同(tóng )层次的电(diàn )影(yǐng )历史参(😲)考文献(🏡)之下，当前许多政治关(guān )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.