康沃(wò )尔渔(🆓)村(cūn )的风景(🥇)明信片田园(🍩)诗误导(dǎo )了人(rén )们(men )(🕟)。虽然过(guò )去钓(diào )鱼(🍥)是一种养家糊口的方式，但如今富(fù )有的伦敦游客纷(⏬)纷下山，取代(dài )了(le )当地人(🖲)，当地人(rén )的生(shēng )计因此受(🎡)到威胁。史(shǐ )蒂文和马(mǎ )丁兄弟的关系也很(🎿)紧(🎫)张。马(😚)丁(dīng )是(✖)一个没(🚸)有船(chuán )的渔夫，因为(wéi )史蒂文开始(shǐ )用它来为一整天的游客(kè )提供更(🖲)赚钱(❔)的旅(🦗)游(🌑)。他们卖(mài )掉(diào )了这(zhè )座家(📙)庭别(bié )墅，现(xiàn )在看(🤸)来，最后一场(🙉)战(💪)斗是和(⏰)新主人在(🥫)海边的停(tíng )车位上展开。然而，情况(🎋)很(hěn )快就失控(kòng )了(🧣)，而不(bú )仅仅(jǐn )是因(🤘)为车轮(💝)夹(jiá )钳。Bait是一种黑白，手工(🏻)制作，16毫(🥋)米胶片制作的(🚶)电影(yǐng )。许多关于鱼(yú )、(💿)网、龙虾、长靴(xuē )、绳结和渔篮的特(🥤)写(xiě )镜头(♌)让(ràng )人(🥅)想起了(🏃)蒙太(tài )奇景点(diǎn )的理(lǐ )论(🌱)。对(duì )(🐖)不同(tóng )社会阶(🔥)层的(de )描述(⏳)——可(🎐)以说是阶级关(guān )系——(🚻)也让(ràng )人想(xiǎng )起了英(yīng )国电影中的(📬)社(shè )会(huì )现(xiàn )实主(😉)义传统。然而，最重(⏺)要的是，在影像(🍯)中不同(tóng )层次的电影历史参考文(wén )献之下(xià )，当前(🛃)许(🛌)多政治关联(📯)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.