康沃尔渔村(cūn )的风景(jǐng )明(míng )信片(piàn )田(tián )园诗(shī )误导(🃏)了人(😘)们。虽(suī )然过(🕰)去钓鱼(yú )是一种养家(jiā )糊口(kǒu )(🐉)的方(fāng )式(🍖)，但(🏴)如今富有(yǒu )的伦敦游客纷纷下山，取(🏇)代了当(dāng )地人，当地人的生计(jì )因(yīn )此受到威胁(xié )。史蒂文和马(mǎ )丁(dīng )兄弟(dì )的关系也很(hěn )紧(jǐn )张。马丁是一个没有船的(🐶)渔(🥀)夫(fū )，因(yīn )为史蒂文(wén )开(⏺)始用它来(lái )为(🚣)一(yī )整天(tiān )的游客提(⏯)供更赚钱(❔)的旅游(yóu )。他们(㊗)卖掉了(💻)这座家庭别(bié )墅，现在(🤠)看来(🌞)，最后一(yī )场战(💪)斗是和新主人(⛏)在海边的(🧤)停车位(🤲)上展(⛳)开(😍)。然而，情况很(hěn )快就失控了，而不仅仅(👣)是因为车轮夹钳。　　Bait是一种黑白，手工制作，16毫米(🌪)胶片制作的电影(💯)。许多关于鱼(yú )(🎥)、网(🈺)、龙虾、长(🤥)靴(⏲)、绳结和渔篮(🥤)的特写镜头让人(rén )想(xiǎng )起(qǐ )了(le )蒙(méng )(🚲)太奇景(jǐng )点的(🌱)理论(lùn )。对不(🔫)同社会阶(🌸)层的(⏳)描述——可以说是阶级(jí )关系—(🍺)—(🔪)也(🐂)让(ràng )人(🛃)想起了英国电影(yǐng )中的社(shè )会现实主(zhǔ )(🚩)义传统。然而，最重要的是，在影(🔍)像中不(bú )同层次的(🖱)电影历史参考(🏡)文献之下，当前许(🕵)多政治关联正(👆)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.