康沃尔渔(yú )村的风景(jǐng )明信片田园诗(🔼)误(🌰)导(dǎo )了人们。虽(suī )(🛍)然过(🕰)去(🤢)钓鱼是一种养家糊(🥈)口的(🛤)方式，但如(🗼)今富有的(😧)伦(lún )敦游(🌫)客纷纷下山，取代了当(😎)地人(🖲)，当地人的生计因此受(shòu )(🎡)到威胁。史蒂文和马丁兄弟的关系也(📞)很紧张。马丁是一(yī )(🙁)个没有船(chuán )的渔夫，因为(🐖)史(🤷)蒂(dì )文(wén )(💞)开始用它(tā )来(lái )为一(yī )(🔩)整天(🌚)的游客提供更(gèng )(🖲)赚钱的(de )旅(🦗)游(yóu )。他们卖(mài )掉(🥔)了这座家庭别墅，现(🙌)在看来，最(㊙)后一(yī )场战斗是和新主人在海边的停(🔔)车位(wèi )(🤲)上展开。然而，情(🤳)况很(🥕)快就失(shī )控(kòng )(🚴)了(🧣)，而不仅仅是(shì )因(yīn )为车(chē )(❕)轮(lún )夹钳。Bait是一种黑(🦇)白，手工制作(🌹)，16毫米(🤷)胶片制作的电影。许多关于鱼(🙎)、网、(🐡)龙虾、长(zhǎng )靴、绳(shéng )结(📛)和(hé )渔(👌)篮的(de )特写镜头让人想起了蒙太奇景(📐)点的(de )理论(🌱)。对不同社(shè )(🔫)会阶层的(🌸)描(miáo )述——可(kě )以说(shuō )是阶级关系——也让人(🐂)想起(qǐ )了英(yīng )国(guó )电(diàn )影(yǐng )中的社会现实主(😉)义传统。然而，最重要的(de )是，在影像中(🔍)不同层次(🚪)的(de )电(diàn )影历史(shǐ )(👼)参考(kǎo )文献(xiàn )之下，当前(qián )许多政治(zhì )关联正在等待被发现。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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.