康沃尔(ěr )渔村(⛲)的风(🐽)景明(míng )(📼)信片(piàn )(🏽)田园诗误(🌰)导(dǎo )了人们。虽然过去(🤢)钓鱼是(🎺)一种养家(🆖)糊口(kǒu )的(de )方式(shì )，但如今富有的伦敦(dūn )游客纷(⏬)纷下(🎏)山，取代了当地人，当地人(🔸)的生计因此受到威(🕯)胁(👁)。史蒂文和马丁兄(xiōng )弟的关系也(📞)很紧张(🥞)。马丁(dīng )是(shì )一个没(méi )有船的渔夫(🕕)，因为史蒂(🔊)文(wén )(💞)开始用它来为一(yī )整天(tiān )的游(🚨)客提(tí )供更赚钱的(de )旅游。他们(men )(㊗)卖掉(diào )了这(🗞)座家(📙)庭别墅(shù )，现在看来，最后(hòu )一(yī )场战斗是和新主人在海(hǎi )边的停车位上(shàng )展(zhǎn )开。然而，情况(🎋)很快(🕐)就失控了，而(⚾)不仅仅是因为(🈁)车轮(lún )夹钳。Bait是(shì )一种(zhǒng )黑(🦇)白，手(shǒu )工制作，16毫米(mǐ )胶片制(💅)作的电影。许多关于(🏒)鱼、网、龙虾、长(zhǎng )靴、(🤥)绳结(jié )和(hé )渔篮(lán )的特写镜(👵)头让(💸)人(🥅)想起(qǐ )了蒙(méng )太奇(🚲)景点的理(lǐ )论。对(🐖)不同社会(huì )阶层的描(miáo )述——可以说是阶级关系——(🚻)也(yě )让人想起了英国电(💅)影中的(de )社会现实主义(🚤)传统。然(🏸)而(ér )，最重要的是，在(🐈)影像(🍯)中不同层次的电影历史参考(🐅)文献之下(💨)，当前许多(🍾)政(🕵)治(zhì )关联(lián )(📯)正在等(děng )待(dài )被发(fā )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.