康沃尔渔村的(de )风(🐽)景(jǐng )明(míng )(📼)信片田园诗误(🌰)导(dǎo )了(le )人们(🕟)。虽然过去(🤢)钓鱼是一种(zhǒng )养家(jiā )糊口的(🛤)方式，但如今富有(💤)的伦敦游客纷纷下山(❣)，取代了当地人，当地(🕔)人的(de )生计因此受(🎡)到威胁。史蒂(✳)文(🔲)和马丁兄弟(🚥)的关系也很(hěn )紧张。马丁(🍮)是一个没有船(chuán )(🚑)的(🐶)渔(🥀)夫(fū )，因(😱)为史蒂文(wén )开始用它(tā )来为一整天的游(yóu )(🚨)客提供更赚钱的旅游。他(tā )们卖(🥎)掉了这座家(📙)庭别(✋)墅，现在看来(lái )，最后(👓)一场战斗(dòu )(⛓)是和新(🈴)主人在(zài )海边(👃)的(de )停(tíng )(🔔)车位(wèi )上展(zhǎn )(⛳)开。然(rán )而，情况很快(🕐)就(jiù )失控了，而不(bú )仅(jǐn )仅是(shì )因为(🈁)车轮夹(jiá )钳。Bait是一种黑(hēi )白(bái )，手工制(🐛)作，16毫米胶(🃏)片(piàn )制作(zuò )的(de )电影。许(💯)多关于鱼、网(wǎng )(🎥)、龙(lóng )虾(🤔)、长(zhǎng )(🔍)靴、绳结和(🔤)渔(yú )(👌)篮的特写镜头让人(🥅)想(xiǎng )起(🍽)了蒙太奇景点的(de )理论。对(🐖)不同社会(huì )阶层的描(miáo )述——可以说是阶级关系——也让人想起了(le )英国(🧘)电(diàn )影(yǐng )中的社会现(xiàn )实主义传统(tǒng )。然而，最重要的是，在影像中不同层次的电(diàn )影历(💛)史参考文献之下，当前许多(🍾)政(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.