康沃尔(ěr )渔村的(de )风景明信片田园(yuán )(🍩)诗误导(dǎo )了人们。虽然(rán )过去钓鱼是(shì )一(🔧)种养家糊口的方(🌰)式，但(dàn )如今富有的伦(lún )敦游客纷(fēn )纷(fēn )下山，取代了(le )当(dāng )地人，当(dāng )(🐿)地(dì )(🕔)人的生(🎩)计(🤷)因此受到威(🕯)胁。史蒂文(🔲)和马丁兄弟(🚥)的关系也(📞)很紧张。马丁是一个没(méi )有船的渔夫，因为史(🤷)蒂文(wén )开始(🚢)用(yòng )它来为(wéi )一整天的游客(🛑)提供更赚钱的(de )旅游(yóu )。他们卖掉了这(🗞)座(zuò )(🙂)家庭(🔝)别墅，现在看来，最后(hòu )一(🙀)场战斗是和新主(zhǔ )人(⛏)在海边的停车位(🤲)上展开(kāi )。然而(⛳)，情(qíng )况(kuàng )很(hěn )快就失(🧟)控了，而(⚾)不仅(🌮)仅是(shì )因为车(chē )轮夹钳。Bait是(💍)一(🚗)种黑白(😊)，手(shǒu )工制作，16毫(🥋)米胶片制作(zuò )(🌼)的电(diàn )影。许多关于鱼、网、龙虾、长靴(😙)、绳结(jié )和(hé )渔篮的(📸)特(🥤)写镜头(tóu )让人想起(🍽)了蒙太(🏴)奇(🚲)景点的理论。对不同社会阶层的(de )描(📞)述——可以说是阶级关(👗)系——也让人想起(qǐ )(🛃)了英国(🧘)电影(yǐng )中的(de )社会(🕺)现实主(😉)义传统(🍹)。然而(ér )，最(🈺)重要的是，在影(🔬)像中(zhōng )不(bú )同层(🈂)次(🚪)的(de )电影(yǐng )历史参考文献之下(xià )，当(dāng )前(qián )许(xǔ )多政治关联正(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.