康沃尔渔村(⛲)的(de )风景明(📼)信片田园(yuán )诗误导(🃏)了人们(men )。虽然过去钓(diào )鱼(🍥)是一(🔧)种(zhǒng )养家糊口的方式，但如今富(fù )(🥩)有(💤)的伦敦(dūn )游(yóu )(🌫)客纷(⏬)纷下山，取(qǔ )代了(📼)当地人，当(dāng )地人的生计因(yīn )(🗄)此受到威胁(👁)。史蒂文和马丁兄弟的关(🕌)系也很(🎿)紧张(zhāng )。马(😚)丁是一个没有船(chuán )的渔夫(🕕)，因为(🐖)史蒂(dì )文开始用它来为(wéi )一整(zhěng )天的游客提供更赚钱的旅游(🌑)。他们卖掉了(le )这(zhè )座家(📙)庭别墅(shù )，现在看来，最(㊙)后(👓)一场战斗是(🎾)和新(🈴)主人在海边的停车位上展开。然而(⛳)，情况很(🥕)快就失控了(le )，而不仅仅是(🗳)因(yīn )为(wéi )车轮夹(jiá )(💹)钳。Bait是一种黑白(😊)，手工制作，16毫(🥋)米胶(🃏)片(🌪)制(zhì )作的电(💹)影(yǐng )。许多关于鱼、网、龙虾(xiā )、长(zhǎng )靴、绳结(📛)和(hé )渔篮的特写(xiě )镜头让(ràng )人想(🐞)起了蒙(méng )太奇景点(diǎn )的(🌂)理(🔙)论(🌱)。对不同社会阶层的描述——可以说是(👛)阶(jiē )级(jí )关系(🎦)—(📤)—也(🍺)让人想起了英国电影中的社会(🕺)现(xiàn )实(🎴)主义传统。然而，最重要的(🔮)是，在影像中不同层次的电影历(lì )史参考(kǎo )文(⛅)献之(zhī )下，当前许多(duō )政(🕵)治关联(lián )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.