康(kāng )沃尔渔村的风(🐽)景(jǐng )(🥇)明信片田园诗误(wù )导了人们。虽然(rán )过去(🤢)钓(diào )鱼(yú )是(shì )一(🔧)种养(yǎng )家糊口的方式，但(🏴)如今富有(💤)的伦敦游客纷纷下山，取代(dài )了当地人，当地人(rén )(🔸)的生(🎩)计因此受(shòu )到威胁(xié )。史蒂(✳)文和(🥄)马丁兄弟(🚥)的关系也(yě )很(hěn )紧(jǐn )张。马(😚)丁是(shì )一个没有船的(🐶)渔夫(fū )，因为史蒂文(wén )开(⏺)始用它(tā )来为一整天(🌚)的游客提供更(gèng )赚(zuàn )钱的旅游(🌑)。他们卖(🥎)掉了这座家庭别墅，现在看来，最(zuì )(㊙)后一场战斗是和新主人在(zài )海(🤷)边(biān )(👃)的(de )停车位上展(⛳)开。然而(⛳)，情况很快(🕐)就失控了，而不仅仅(jǐn )(👣)是(shì )因为车轮(💝)夹(jiá )钳。Bait是一(yī )种黑白，手工制作(🌹)，16毫(🥋)米(mǐ )胶(🃏)片(🌪)制作的(de )(🚶)电影。许多关于鱼、(💿)网(wǎng )、龙虾、长靴(xuē )、绳结和渔篮的特写(xiě )镜头让(💸)人想(xiǎng )(🐞)起(qǐ )了蒙太奇景点的理论(🌱)。对不同社(shè )会阶层的描述——可以(🍁)说(shuō )是(👛)阶级(jí )关(guān )系——也让人(rén )(🐂)想起(qǐ )(🛃)了英(👩)国(🧘)电影中(zhōng )的社会现实(🎴)主义传(🚩)统。然而，最(zuì )重要(yào )的是(👅)，在影像中不(bú )同层次(🚪)的电影(🖱)历史参考文(⛅)献之下，当前许多政治(🎞)关(guān )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.