康沃尔渔村的风景(jǐng )明信片田(tián )园诗误导了人(😘)们。虽然过去钓鱼是(shì )一(yī )种养家(🆖)糊口的方式，但(🏴)如今富有的伦(lún )(🎾)敦游客(kè )纷纷(🎲)下(xià )山(❣)，取(qǔ )代了当(dāng )地人，当(🐿)地(dì )(🕔)人的生计(🤷)因此受到(dào )威胁。史(shǐ )(💆)蒂文(🔲)和(🥄)马丁兄弟的关(🕌)系也很紧张。马(mǎ )丁是一个没有船的渔夫，因为(wéi )史蒂文(wén )开始(shǐ )(🚢)用它来(🧚)为一整(zhěng )天的游客提供更赚钱的(💱)旅(🦗)游。他们(men )(㊗)卖掉(diào )(🥔)了这座家庭(tíng )别墅(🐑)，现在看(🤸)来，最后一场(chǎng )(🙉)战(💪)斗是和新主(zhǔ )人(rén )在海边的停车位上(🕙)展(zhǎn )开。然而(ér )，情况很快就失(🧟)控了，而不仅仅是(🗳)因为车(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(xǔ )多(😝)关于(yú )鱼、网、龙(lóng )虾、(📧)长靴(xuē )、(🤥)绳结和渔篮的特(🥤)写(🔷)镜头(tóu )让人想起了(🏃)蒙太奇景点的(🌂)理论。对不同社会阶(jiē )层的描述(⏳)—(🏓)—可以(🍁)说(shuō )是阶级关系——也让人(rén )想(xiǎng )起(🛃)了(⏺)英(👩)国电影(🤼)中的社会现(💑)实主义(yì )传统。然(rán )而，最重要的是(shì )，在(zài )影(🔬)像中不同层(🈂)次的电影历史参考文献之(zhī )(✒)下，当前(qián )许多政(zhèng )治关联正(🐇)在(zài )等(děng )待被(bèi )(🏗)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.