康沃尔(ěr )渔村(⛲)的(✒)风(fēng )景明信片(🏽)田园诗(🔼)误导了人(rén )们。虽(suī )然过(🕰)去钓鱼是一(🔧)种养家糊口(kǒu )的(de )方(fāng )式，但如今(🐮)富(🥩)有的伦敦(📿)游客纷纷下(🎏)山，取代(♑)了(📼)当(😎)地人，当地人的(de )生(🎩)计因此(🛍)受(shòu )到威胁。史蒂文和马(mǎ )丁(dīng )兄弟的关系也很紧张。马丁(dīng )是(shì )一(yī )个没(méi )有船的渔夫，因为(🐖)史(🤷)蒂文开始用它来为一整天(tiān )的(de )游客提供更赚钱(qián )的旅游。他们卖(mài )掉了这座家庭别墅，现在看来(🌞)，最(㊙)后一(yī )场(🙉)战斗是和(hé )新主(zhǔ )人在(zài )(🥫)海(hǎi )边(👃)的(de )(🧤)停车位上展(zhǎn )(⛳)开(😍)。然而，情(qíng )况(kuàng )很快就(🐀)失控了(🧣)，而不仅仅是(shì )(🗳)因(yīn )为车轮夹钳(💔)。Bait是(💍)一种黑(hēi )白，手工制(zhì )作，16毫(🥋)米(🤷)胶片制作(zuò )的电影。许(xǔ )多关(guān )于鱼、网、龙(lóng )虾、(📧)长靴(😙)、绳(⏲)结和渔篮的特(tè )写镜头让人想起了蒙(méng )太奇景点的理论。对不同社(🔫)会阶层的描(miáo )述——(🚽)可以说(shuō )是阶(🕕)级关系—(📤)—也让(ràng )人想起(qǐ )了英国(guó )电影(yǐng )(🤼)中的社会(huì )现实(🎴)主义传统。然而(❄)，最(🈺)重要的是，在影像中不同层次的电(diàn )影历史参考文献之(zhī )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.