康(kāng )沃(👷)尔渔村的风(🐽)景明信(📒)片田园(🍩)诗误导了人们(men )。虽(suī )(🛍)然过去钓(diào )鱼(🍥)是一(yī )种养(yǎng )(🎹)家糊口的方式，但(🏴)如今富有的伦敦游客(👋)纷(⏬)纷下山(❣)，取代了当(😎)地(🚤)人(🖲)，当(dāng )地(🕔)人的生(🎩)计因此受到(🕖)威(wēi )胁。史蒂(dì )文和(🥄)马丁(🚉)兄(xiōng )弟(🚥)的关(guān )系也很紧(jǐn )张。马丁是一个没有船的渔夫，因为(🐖)史蒂文开始用它来为一整天的(📯)游客提供更赚钱的旅游(🌑)。他们(men )卖掉了这座家庭别墅，现(xiàn )(🙌)在看来，最后一场战斗是(shì )和(hé )新主(🍄)人在(zài )海边的停(tíng )车位上展开。然而(⛳)，情(qíng )况很快就失控了，而(ér )不仅仅(jǐn )是因(yīn )为车轮夹钳(qián )(💔)。Bait是一种(zhǒng )黑(hēi )白，手工制(zhì )作，16毫米(mǐ )胶片制(zhì )作的电影。许(💯)多关(🔈)于鱼、网、龙虾、长靴(xuē )、绳(shéng )结和渔篮(lán )的(📸)特(🥤)写镜头让人想(xiǎng )(🐞)起了蒙太(🏴)奇景点(diǎn )(🔎)的理论。对(duì )不同社会阶层的(de )(🌸)描述(⏳)——可以说是阶级关系——也让人想(xiǎng )起(qǐ )了英(yīng )国(🧘)电影中(zhōng )的(de )社(✖)会现实主义传(🚩)统(tǒng )。然而，最重要(yào )的是，在(zài )影像中不同(💕)层(🈂)次(🚪)的电影(yǐng )历(💛)史参(cān )(😲)考(🐅)文(⛅)献之(✒)下(xià )，当前许多政(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.