康沃尔渔村(cūn )的风(fēng )景明(míng )信片田园(yuán )(🍩)诗(🔼)误导(dǎo )了人们(🕟)。虽然过去钓鱼是一(🔧)种(🎗)养家糊口的(de )方式，但如今富有的伦敦游客(👋)纷(⏬)纷下山(shān )，取代了当地人，当地(🕔)人的(de )生计(jì )因此受(🎡)到威(🕯)胁(👁)。史蒂文和马丁兄弟的关(guān )系(xì )也很(🎿)紧(jǐn )张。马丁是(shì )一个没有(🖍)船的渔夫，因(😱)为(🐖)史蒂文(wén )开始用它来为(wéi )一整天的游(🚨)客提供更赚钱的(de )(💱)旅游(🌑)。他们卖掉了这(zhè )座家(📙)庭别(bié )墅，现(xiàn )在(🤠)看来(lái )，最后一场(chǎng )战斗(⛓)是和(⏰)新(🈴)主人在海(hǎi )边的停(tíng )(🔔)车位上(shàng )展(zhǎn )开。然而(ér )，情(🤳)况很(🥕)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(guān )于鱼、网(🈺)、龙(lóng )虾(🔍)、长(zhǎng )靴(xuē )、绳(🔤)结(👌)和渔篮(lán )的特写镜头让人想起了蒙太奇景点的(de )理论(🐖)。对不同(💣)社会阶层的描述——可(kě )以说是阶级关系(xì )——也让(ràng )人想起了英国(guó )电影中的社会(huì )现实(🚤)主(zhǔ )义传统。然而(🈺)，最(zuì )重要的是(🐈)，在(zài )影像中不(bú )同层(🐌)次的电影历史(shǐ )(🐅)参(cān )考文(wén )献(xiàn )之下，当前许(xǔ )多政(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.