康沃尔渔村的风(fēng )景(jǐng )明信(xìn )片田园诗(🔼)误导了(🕋)人(😘)们。虽然(rán )(🔱)过去钓(diào )(🤴)鱼是一种养家糊口的方式，但(🏴)如(🗼)今(🐮)富有的伦(🎾)敦游客(👋)纷纷(fēn )下山，取代了当地(dì )人，当地人的生计因此受到威胁(👁)。史蒂(✳)文(wén )和马丁兄(xiōng )弟的关系也很紧张。马丁(dīng )是一个没有船的渔夫，因为史蒂文开始用它来为一(yī )整天的游(yóu )客提供更赚钱的(de )旅游。他们卖掉了这座(🙂)家庭(🔝)别(bié )墅，现(🙌)在(🤠)看(kàn )来，最(zuì )后一场战斗是和(⏰)新主人在海边的(🧤)停车位(wèi )上展开。然(rán )而，情况(kuàng )很快就(🐀)失(shī )控了(le )，而(ér )不仅(jǐn )仅是因为(🈁)车轮夹钳。Bait是一种(zhǒng )(🐾)黑白，手(➡)工制作，16毫米胶片制(💅)作(zuò )的电影(yǐng )(📟)。许多关于鱼(yú )、网、龙虾、长靴、(🤥)绳结(📛)和渔(👌)篮的(📸)特(tè )写(🔷)镜头(tóu )让人(rén )(🥅)想起了蒙(méng )太奇景(📐)点的理论(lùn )。对不(bú )(🆙)同社会阶(jiē )层的描(📞)述—(🏓)—(🚽)可(🎐)以说是(shì )阶级关系(🎦)——也(🍺)让人想起了(le )(⏺)英国电(💅)影中的(📬)社会现实主义(yì )传统(tǒng )。然而，最重(⏺)要(🧥)的是，在影像中不同层次的电影历(lì )史参考文(⛅)献(xiàn )之(✒)下，当前许多政治关(🚓)联(lián )正在等待(dài )被发(fā )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.