康(kāng )(🌠)沃尔渔村的风景明信片田园(yuán )(🍩)诗误导了(🕋)人们(men )。虽(🛍)然过去钓(diào )鱼是(shì )一种(🎗)养家糊口的方式(shì )，但(🏴)如今(jīn )富(fù )有的伦敦游客纷(⏬)纷(fēn )下山，取代(dài )了当地人，当(dāng )地人的(👑)生计(jì )因此受到威(wēi )(🕯)胁(👁)。史(💆)蒂文和马丁兄(🏐)弟的关系也很紧张。马丁(🍮)是一个(gè )没有船的渔夫，因(😱)为(🐖)史(shǐ )蒂文开始(🚢)用它(📎)来(lái )为(wéi )一整天的游客提供更赚钱(qián )(❔)的(💱)旅游(🌑)。他们卖掉了(💻)这座(zuò )(🙂)家庭(tíng )别墅，现在(🤠)看(🤸)来，最后一场战斗是和新主人在(zài )海边(👃)的停车位上展开。然而(ér )，情况很(🥕)快就(jiù )失控了，而不仅仅是(shì )因为(wéi )车轮(lún )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、网、龙虾、长靴、绳(⏲)结和渔篮的特写镜头让(💸)人(rén )想起了(le )蒙太(tài )奇景(jǐng )点的(🌂)理(🔙)论。对不同社会阶(🔥)层(🚡)的(🌸)描述——可以说是阶级(jí )关系—(📤)—(🚻)也让(ràng )人(rén )想(👚)起了英(yīng )国电影(🤼)中的社会现(💑)实主义(yì )传统。然(🏸)而(❄)，最重(chóng )要的(🔮)是，在(zài )影(yǐng )(🔬)像中不同层次(🚪)的电(diàn )影历史参考文献之下，当(dāng )(🙅)前许(🛌)多政治(zhì )关联(📯)正在等(děng )待(dài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.