康沃尔渔村的风景明信片田园诗误(🌰)导了人(😘)们(🕟)。虽然(rán )过(guò )(🕰)去(qù )钓(diào )鱼是一(yī )种养家糊口的方式，但(dàn )如(🗼)今富有的伦敦游客纷纷下山，取代了当地人，当地(🕔)人的生(🎩)计因此受到(dào )威(wēi )胁。史蒂文和马丁(🚉)兄(🏐)弟(dì )的关系也(yě )很紧张。马丁(🍮)是一个(😻)没有船(chuán )的渔夫，因为(🐖)史蒂(dì )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(diào )了(💻)这座家庭别墅(shù )，现在看(🤸)来，最(zuì )后一场(chǎng )战(zhàn )斗是和新(🈴)主人在海(hǎi )边的(de )停车(chē )位上展(zhǎn )开。然而，情(qíng )况很快就失控了，而不仅(jǐn )仅是(🗳)因为车轮(💝)夹钳(💔)。Bait是一种(🐾)黑白，手工制(zhì )作，16毫(háo )米胶片制(zhì )作(🌼)的(de )电影。许多关(🔈)于(yú )鱼、网、(🐡)龙虾、长靴、绳结和渔篮(💏)的特写(xiě )镜头让人想(xiǎng )(🐞)起了蒙太奇景(📐)点的理论。对不(🆙)同社会阶层的描(miáo )(📞)述——可(🎐)以说(shuō )(🔲)是(👛)阶(jiē )级关(👗)系(🎦)——也让(ràng )人(🐂)想(👚)起(🛃)了英国电(diàn )影中的(📬)社(shè )会现实(shí )主义(🚤)传(🚩)统(tǒng )(🍹)。然(🏸)而(❄)，最重(chóng )要的是，在影像中不同层次的电影历史参考文(wén )献之(✒)下(💨)，当前许(xǔ )多(🍾)政治关联正(zhèng )在等待(dài )(🔍)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.