康(kāng )沃尔渔村的(✒)风(fēng )景明信片(piàn )田园(🍩)诗误导了人(rén )(😘)们。虽(suī )然(rán )过(guò )去钓鱼是一(🔧)种养(yǎng )家(🆖)糊口(🐉)的方式(shì )，但如今富有(💤)的(de )伦敦游客纷纷下山(shān )，取代了当地(🚤)人，当地(🕔)人的生计(🤷)因此受到威胁。史(💆)蒂文和马丁兄弟的关系(xì )(🛺)也很紧张(🥞)。马丁是一(yī )个没(méi )有船(🚑)的(de )渔夫，因(😱)为史蒂文(wén )开(kāi )始用它来为一整天(tiān )的(📯)游客提供更(gèng )赚钱的(💱)旅游。他们卖掉(🥔)了这座家(📙)庭(🔝)别(bié )墅，现(xiàn )(🙌)在看来(🌞)，最(㊙)后一场(chǎng )战(💪)斗(dòu )是(🎾)和新主人(rén )在海边的停车位(🤲)上展开。然而，情况很(hěn )快(kuài )(🕐)就(🐀)失控了，而不仅仅是因(yīn )(🤘)为车轮夹钳。Bait是一种(🐾)黑(🦇)白(😊)，手工(gōng )制作，16毫米胶片制作的电影。许多关于鱼(yú )(🙎)、网、龙(🈺)虾、(📧)长靴(😙)、绳(shéng )结和(🔤)渔篮的特写(🔷)镜头(tóu )让(ràng )人想起了蒙(méng )太奇景点(🔎)的(de )理(🔙)论。对不(🆙)同社(shè )会(huì )阶层(céng )的描述——(🚽)可以说是阶级关(👗)系(xì )——也让人想(xiǎng )(👚)起了(le )英国电(💅)影中的社(✖)会现实主义传统。然而，最重要的是，在影像(xiàng )中不同(tóng )层(céng )次的(de )电影历史参(cān )考文献之下，当前许多(duō )(🍾)政治(🎞)关联正在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.