康沃尔渔村的风景明信(xìn )片田(🐌)园诗误导(🃏)了人们。虽(suī )然过去(🤢)钓(diào )鱼是(shì )(🎺)一种养家(🆖)糊口的方式(shì )，但如(🗼)今富有的(de )伦敦(dūn )游客纷(fēn )(⏬)纷下山，取代(dài )了当地(dì )(🚤)人(🖲)，当地(dì )人的生(🎩)计(🤷)因此受到威胁。史蒂文和马丁兄弟的关(🕌)系(xì )也(yě )很紧张(🥞)。马丁是(shì )一(yī )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(le )这(zhè )座(zuò )家庭别墅，现在看来(lái )，最后一场战(zhàn )斗是和新主人在海(hǎi )边(👃)的(🧤)停车(chē )位上展开。然而，情况(kuàng )很(hěn )快就失控(kòng )了，而不仅仅是因为车(chē )(❕)轮夹(💹)钳。Bait是一种黑白，手工制作，16毫米(mǐ )(🤷)胶(jiāo )片制作的(de )电影。许多(😝)关于(🏒)鱼(yú )、(💿)网、龙虾(🤔)、长靴(😙)、(🤥)绳结(📛)和渔篮的特写(xiě )镜头让人(rén )想起了蒙(🔞)太(🏴)奇(qí )景点的理(lǐ )论。对不同社(shè )会阶层的(de )描述——可(kě )以(🍁)说是阶级关系(xì )——也让人想起(qǐ )了英国(🧘)电(diàn )(💅)影中的社会(huì )现(xiàn )实主义传统。然而(❄)，最重要(yào )的(🔮)是，在影像(xiàng )中不(🌲)同层次的(🐌)电影历(lì )史参(😲)考文(⛅)献之下，当前许多(🍾)政治(zhì )(🎞)关(guān )(🚓)联(lián )正在等待(🔍)被(bèi )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.