康沃(👷)尔(🔨)渔村(cūn )的风(fēng )景明信片田园诗误导了人们(🕟)。虽(suī )然过(guò )(🕰)去钓鱼是一种养家糊(hú )口的(de )方式，但如(🗼)今富有(yǒu )的(de )伦敦游(🌫)客纷纷下山，取代(dài )了(le )当地人(🖲)，当地(dì )人的生计因此受(🎡)到威胁。史蒂文(wén )和(🥄)马(mǎ )丁兄弟(dì )的(🐖)关系也很紧(jǐn )张(zhāng )。马丁是(✖)一个没有船(🚑)的渔夫，因为(🐖)史蒂(dì )文(💞)开(kāi )始用(yòng )它来为一整(zhěng )天的游客提供更赚钱的(de )旅游。他们卖掉(diào )了这座家(jiā )庭(🔝)别墅，现在(🤠)看来(🌞)，最后一(🙀)场(chǎng )战斗(⛓)是和(⏰)新主人在海(🤷)边的停车位上展开。然而(ér )，情况很快就失控(kòng )了(le )，而不仅仅是因为车轮夹(💹)钳。　　Bait是一(yī )种(😊)黑白，手(shǒu )工制作(zuò )(🐨)，16毫(🃏)米胶片制作(zuò )的电(🐩)影。许(xǔ )多关于(💿)鱼、网、龙(lóng )(📧)虾、长(🤥)靴、绳(shéng )结和渔(yú )篮(🥤)的特写(♌)镜(💸)头让人想起了蒙太奇景点(🔙)的理论。对(🖍)不同(tóng )社会(🚡)阶(🌸)层(📞)的描述——可以(👛)说(shuō )是阶(jiē )级关系(🚻)——也让(👚)人(rén )想起(👩)了英国(guó )电(diàn )影中的社会(🎴)现(xiàn )实主义传统(🏸)。然而，最重要的(de )是(shì )，在影像中不(🈂)同(🚪)层次的电影历史参考文(wén )(✒)献之下，当前(qián )(🍾)许多政治(zhì )关联正在等(děng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.