康沃(👷)尔(ěr )渔(🆓)村的(✒)风景明信片田园诗误导(dǎo )了(le )人们。虽然过去钓鱼是一种养家(🆖)糊口的(de )方式，但如今富(fù )有(💤)的伦敦游客纷纷下山，取代了(le )当地人，当地(🕔)人的生计(🤷)因(🗄)此(cǐ )(🛍)受到威胁。史蒂文和(🥄)马(🛹)丁兄弟(🚥)的关系也(yě )很紧张。马丁是一个没有船(chuán )的渔(yú )夫，因为(wéi )史蒂文(💞)开始用它(tā )来为一(yī )整(zhěng )天的(de )(📯)游(yóu )客提供更(🖲)赚(🔢)钱的(de )旅游。他们(men )(㊗)卖掉(diào )了这座(zuò )(🙂)家庭(🔝)别墅，现(xiàn )(🙌)在看来，最后一场(chǎng )战(zhàn )斗(⛓)是和新主人在海边的停车(chē )位上(🕙)展开。然而，情(qíng )况很快就(🐀)失控了(le )，而不仅仅是因(yīn )为(🈁)车轮夹钳(💔)。Bait是(💍)一种(🐾)黑白，手(shǒu )工(gōng )制(🐛)作，16毫米胶片制作(🌼)的电影。许多关(guān )于鱼(🙎)、网、龙(lóng )虾(xiā )、长靴、绳结和(🔤)渔(👌)篮的特写镜(jìng )头让人想起了蒙太奇景点的理论。对(🐖)不(bú )同(🖍)社会阶层的(🌸)描(miáo )述——可以说是阶(jiē )级关系(xì )——也(🍺)让人想起了英(yīng )(👩)国电影(🤼)中的社会现实主义传统。然(rán )而，最(🈺)重(⏺)要的(🔮)是(👅)，在影(🔬)像(xiàng )(🍯)中不同层次(🚪)的电影(yǐng )历史(shǐ )参考(kǎo )文献(xiàn )(🏡)之下(xià )，当前(🛃)许多(duō )政治关联(lián )正在等待被发现(🗒)。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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.