康沃尔(ěr )渔村(⛲)的(de )风(🐽)景明信(📒)片田园诗(🔼)误导(dǎo )了人们。虽然过去钓鱼是一种养家糊(🥈)口的方式，但(dàn )如今富(🥩)有的伦敦(dūn )游(yóu )客纷纷(🎲)下山，取代了当地(🚤)人(🖲)，当(dāng )地人的生计(🤷)因(🗄)此受(shòu )(🎡)到威胁(xié )。史蒂文(wén )和马丁兄弟(🚥)的(de )(🐖)关系也很紧张。马丁(dīng )是一个没有(🖍)船(🚑)的渔夫，因(yīn )为史(shǐ )蒂文(💞)开始用(yòng )它来为(wéi )一整天的游(🚨)客提(tí )供(gòng )更(🖲)赚钱(qián )的旅(lǚ )(🦗)游。他们卖掉了(💻)这座家庭(🔝)别(✋)墅，现在看来，最(zuì )后一场战斗是(shì )和新主人(⛏)在海边(👃)的(🧤)停车位上(🕙)展开。然(👺)而，情(qíng )(🤳)况(kuàng )(🎋)很快(🕐)就失控了(le )，而(ér )不仅(jǐn )仅是因为车(chē )轮夹(jiá )钳(qián )。Bait是一(yī )种(🐾)黑(hēi )白(😊)，手工制作，16毫(háo )(🥋)米胶片制作(🌼)的电(diàn )影。许(💯)多关于鱼、网、龙虾(xiā )、长靴、绳结和(hé )渔篮(lán )的特写镜头让人想起了蒙(🔞)太奇景点的理(🔙)论。对不同(tóng )社会阶层的(de )描(miáo )述——可以说是阶级关系(🎦)——也(🍺)让人想起了(le )(⏺)英国(🧘)电影(yǐng )中的(de )社(✖)会现实主义传统。然而(ér )，最(🈺)重要的是(👅)，在影像中(🔍)不同层次的(de )电影(🖱)历史参考文献(xiàn )(🏡)之(zhī )下，当前许多政治关联正在等(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.