康沃尔渔村的(de )风景(jǐng )明(míng )信片田园诗误导了人(😘)们。虽然过去(qù )(🤢)钓鱼是一种养家糊口的方式，但如今富有的伦敦(📿)游(🌫)客纷纷下(🎏)山，取(qǔ )代(♑)了(📼)当(dāng )地(🚤)人(rén )，当地人(rén )的生计因此(🛍)受(shòu )到威胁。史蒂(dì )(✳)文和马丁兄(🏐)弟的关系也很紧张。马丁(🍮)是(✖)一(🙁)个(gè )没有船的(de )渔夫(fū )，因(😱)为(wéi )史蒂文开始(🚢)用它(tā )来(lái )为(🚣)一整天(tiān )(🌚)的(📯)游客(kè )提(⏯)供更赚(🔢)钱的旅游。他(tā )们卖掉(diào )(🥔)了这座家庭别墅(🐑)，现在看来，最后一场(chǎng )战(💪)斗是和新主人(⛏)在(🥫)海边的(🧤)停车位上(shàng )展开(kāi )。然而，情况很(hěn )快就失控(kòng )了，而(ér )不仅仅是因为车(❕)轮夹(💹)钳。　　Bait是一种黑白(bái )，手工制作，16毫米胶片制(🚶)作的电影。许多关(guān )于鱼、网、龙(lóng )虾、长靴(⏲)、绳结和渔篮的特写镜头让人(🍽)想(🏃)起了蒙太(tài )奇景点(🔙)的理论。对(duì )不(bú )同(💣)社会(🚡)阶层的描(🏓)述——可以(👛)说(🕕)是阶级(jí )关系——(🔪)也(yě )(🐂)让人(rén )想起了(🧘)英国电(diàn )(❓)影(yǐng )中的社(shè )会现实主义(yì )传统。然而(ér )，最重要的是，在影(yǐng )像中不(bú )同(tóng )层次的(de )电影历史(shǐ )参(cān )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.