康(kāng )沃尔(ěr )渔村的风景(🥇)明信片田园(🍩)诗(🔼)误(🌰)导(🃏)了人们。虽(🛍)然过去钓鱼是一种养(yǎng )家糊口(kǒu )的方式(🍖)，但如今(🐮)富有的(😧)伦敦游(yóu )客纷(fēn )纷下山，取(qǔ )代了当地人，当地人的(de )生计因此受到(dào )威胁。史蒂文(wén )和马(🛹)丁(🚉)兄弟(🚥)的(de )关系(xì )也很紧张(🥞)。马(mǎ )丁是一(yī )个没(méi )有船的渔(🥀)夫(fū )，因为史蒂(dì )文开(⏺)始(shǐ )用它来为一整天的游(🚨)客提供更赚钱的旅游。他们卖掉了这座家庭(tíng )别墅，现在看来，最(zuì )后(👓)一场战斗是和新主人在海边(biān )(👃)的停(tíng )(🔔)车位(🤲)上展开。然(👺)而，情况(kuàng )很快就(🐀)失控(🚴)了，而(ér )不仅(jǐn )仅(jǐn )是因为(wéi )车轮(lún )夹(💹)钳。Bait是一(yī )种黑白，手工制作，16毫米胶(🃏)片制作(zuò )的电(diàn )影。许(💯)多关(🔈)于(🏒)鱼(🙎)、(💿)网、(🐡)龙虾、长靴、绳结和渔(yú )篮的(de )特写镜头让(ràng )人想起了蒙(🔞)太奇(🚲)景点的理(🔙)论。对(🐖)不同社(shè )会阶(jiē )层(🚡)的描述——可(kě )以(yǐ )说是阶(jiē )级(jí )关系——(🚻)也让人(🐂)想(xiǎng )起(qǐ )了英国电影中(❓)的(📬)社会现实主义传统(🍹)。然(rán )而，最重要的是，在影像中不同层次的(🐌)电影(yǐng )(🖱)历史参考文献之下，当前(🛃)许(xǔ )多政(zhèng )治(🎞)关联正在(♊)等(👆)待被发(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.