康沃尔渔村的风景明信片田园(yuán )诗误导了人(rén )们。虽然过去钓鱼(🍥)是一种(🎗)养(🎹)家糊口的(🛤)方式，但如今富(🥩)有的伦敦游客纷纷下(🎏)山，取(qǔ )代了当地人，当地人的(👑)生(shēng )计因此(🛍)受(🎡)到威胁。史(shǐ )(💆)蒂(✳)文和(🥄)马丁兄弟(dì )的关系也很紧张。马(mǎ )丁是一(yī )个没有(yǒu )(🖍)船的(de )(🐶)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(㊗)卖掉了这座家庭别(✋)墅，现在(zài )看来(🌞)，最后一场战(zhàn )斗是和新(🈴)主(🍄)人在海边的停车位(wèi )上(shàng )展(zhǎn )开。然而(ér )，情况很快就失控了，而不仅仅是因(🤘)为车(chē )轮夹钳。Bait是一(🚗)种(zhǒng )黑白，手工制(zhì )作，16毫米胶片(piàn )制(zhì )作(zuò )的电影(📟)。许多(duō )(😝)关(guān )于(yú )鱼(yú )(🙎)、网(wǎng )、(🐡)龙(lóng )虾(xiā )、长(zhǎng )靴、(🤥)绳(shéng )结和渔篮的特(tè )(🥤)写(🔷)镜头(♌)让人想起了(🏃)蒙(méng )太(tài )奇景(jǐng )点的(🌂)理(lǐ )论。对(🐖)不(🆙)同社会阶层的(de )描述——可(kě )以说是(👛)阶级(jí )关系(🎦)——也让人想起了(le )英国电(💅)影中(❓)的(de )社会现(xiàn )实主义传统。然而，最重要(🧥)的是，在影(🔬)像中不同(💕)层次(cì )的电影(🖱)历(lì )史参考文献之(zhī )下，当(🙅)前许多政(🕵)治关联正在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.