康沃(wò )尔渔村(⛲)的风(fēng )景明信(xìn )片(piàn )田园(🍩)诗误导了人们(men )。虽然过(🕰)去钓(🤴)鱼(yú )是(shì )一种(🎗)养(🎹)家(jiā )糊(hú )口的方式，但如今富有的伦敦游(yóu )客纷纷(fēn )(🎲)下(xià )山(shān )，取代(dài )了当地人(🖲)，当(dāng )地人(rén )的(👑)生计(🤷)因(yīn )此(cǐ )受到威(🕯)胁(👁)。史蒂文(🔲)和马丁兄弟(dì )的关系也很紧张。马丁是(✖)一(yī )个没有船的渔夫(🕕)，因(😱)为史蒂文开始(🚢)用它(tā )(📎)来(🧚)为(🚣)一整天(tiān )的游客提供更赚钱(qián )的旅游。他(🌊)们卖掉(diào )(🥔)了这座家庭(🔝)别(bié )(✋)墅，现(xiàn )在看(🤸)来，最后一场战斗是和新主人(rén )在(🥫)海边的停车位上展开。然而(⛳)，情(🤳)况很快就失控(kòng )了，而(ér )不仅仅(jǐn )是因(yīn )为车轮夹钳。　　Bait是一种黑白(bái )，手工(🌹)制作(🐨)，16毫米胶片制作的电影。许(xǔ )多关(guān )于(yú )鱼、网、龙(📧)虾、长靴、(📛)绳结和渔篮(🥤)的特(👵)写(xiě )镜头让人想起了蒙太(tài )奇景点的理论。对不同社会阶层的描述——可以说是(😳)阶(jiē )级关系(🚻)——也让人想起了英国电影(📬)中的(de )社(shè )会现实(🚤)主(🚩)义传统。然而(ér )(🈺)，最(🧥)重要的(de )是，在影(yǐng )像(🌲)中不(🈂)同(🚪)层次(cì )(🐱)的电影(👼)历史(shǐ )(🐅)参考文(wén )献之(zhī )下，当前许多(🎞)政治关(guān )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.