康沃(👷)尔渔村的(de )风景明信片田园诗误导(dǎo )了(le )人们。虽然过(🕰)去钓鱼是(shì )一种养(yǎng )家糊口的方式，但如(🗼)今富有的伦敦游客(kè )纷纷下山(❣)，取代了当地人(rén )，当地人的生计因此受到威(🕯)胁。史(shǐ )蒂文(🔲)和马(mǎ )(🛹)丁兄(🏐)弟的关系(🛺)也很紧(🎫)张(🥞)。马丁是一个(gè )没有船(chuán )的渔(🥀)夫(🕕)，因(yīn )为(🐖)史蒂文开始用它来为(🚣)一整天的游(yóu )(🚨)客提供更赚钱的旅游。他们卖掉了这座家庭别墅(🐑)，现在看来，最(㊙)后一场(🙉)战斗是(shì )和(hé )新主(zhǔ )人在海(hǎi )边的(🧤)停车位上展开。然而，情况很(🥕)快就(🐀)失(shī )控了，而(⚾)不仅仅是因为(wéi )车轮夹(💹)钳。Bait是一种黑白，手工制作，16毫米胶片制作(zuò )的电影。许多关于鱼(yú )、网、龙虾、长(zhǎng )靴、(🤥)绳结(📛)和渔(👌)篮的(📸)特(tè )(🥤)写镜头让人想(xiǎng )起(qǐ )(🍽)了蒙太奇景(jǐng )点的理(lǐ )(🔙)论(lùn )。对不(🆙)同社会(💣)阶层(🚡)的(🌸)描述—(🏓)—可以(yǐ )说是阶级关系—(📤)—也让人想起(qǐ )了(⏺)英国(guó )电影中的社会现实(shí )(🎴)主(zhǔ )义传统(🍹)。然而，最重(chóng )要的是(shì )，在影(yǐng )像中不同(tóng )(💕)层次的(🐌)电影历史(shǐ )(👼)参(😲)考(kǎo )文(wén )献之下(xià )，当前许多政治关(🚓)联正在(zài )(♊)等待被发(fā )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.