康沃尔渔村的(✒)风景(jǐng )明信片(🏽)田(tián )园诗(shī )误导了人们。虽然(rán )过(🕰)去(🤢)钓(diào )(🤴)鱼(🍥)是(shì )一种养家糊口的方式，但如今(jīn )富有(yǒu )的伦(🎾)敦游客纷纷下山，取(qǔ )代了当(😎)地人，当地人(🔸)的生计因此受到威胁。史蒂文和马(mǎ )丁兄弟的关系也(📞)很紧张(🥞)。马丁是(✖)一个(😻)没(méi )有船的渔(🥀)夫，因(yīn )为(🐖)史(🤷)蒂(dì )文开(⏺)始用(yòng )(🌙)它(tā )(📎)来为一整天的游客提(⏯)供更赚(zuàn )钱的旅游。他们(㊗)卖(🥎)掉(🥔)了这座(zuò )家庭别墅，现(xiàn )在看(kàn )来(lái )，最后一场战斗(dòu )是和新主(zhǔ )人(⛏)在(zài )海(hǎi )边的停车位上展开。然而，情况很快就失(shī )控了(le )，而不仅仅是(shì )因(🤘)为(wéi )车轮夹钳。Bait是(💍)一种(zhǒng )黑(hēi )白，手工制(zhì )(🐛)作，16毫米胶片制作(zuò )的电(diàn )影。许(💯)多关于(yú )(🏒)鱼、网、龙(lóng )(🈺)虾、长靴、(🤥)绳结和渔篮(lán )的特(🥤)写镜头(♌)让(💸)人想起了(🏃)蒙太奇景点的理论。对不同(tóng )社会(💣)阶层的描述——可(kě )(🎐)以说(shuō )是阶级关(guān )系——(🚻)也(🍺)让(ràng )人(🐂)想(👚)起(qǐ )(🛃)了(⏺)英国(🧘)电(diàn )影中的社会现实主义传(chuán )统。然而(ér )，最(zuì )重要的(de )是，在影像(🍯)中不(🌲)同层次的电影历史参(😲)考(kǎo )文献之下，当前许多政治关(guān )联正在(♊)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.