康沃尔(ěr )渔村的风景明信片田园诗误导了(le )人(rén )们(🃏)。虽然过去(🛍)钓鱼是一种养(🎺)家糊(hú )口(🎹)的方式，但(dàn )(🌰)如今(🔬)富有的(🐮)伦(🥩)敦游客纷纷(🌫)下山，取代了当地人，当地人的生计(🔸)因此受(shòu )到威胁。史蒂文和(💆)马(mǎ )丁兄弟的(🚉)关系也很紧(jǐn )张。马(mǎ )丁(dīng )是一个没有(🙁)船(chuán )的(de )渔(🖍)夫，因(yīn )为(🕕)史(🤯)蒂文开(kāi )始用(yòng )它(tā )(⏺)来为(🌙)一整天的游客提供更赚(zuàn )钱(qián )(😞)的旅游。他们卖掉了(㊗)这(🥎)座家庭(tíng )别(bié )墅，现在看(kàn )来(lái )，最后一场战斗(dòu )是和(💪)新主人在海边(biān )的停车位上展开(🤲)。然而，情况很(hěn )快就失控了，而不(bú )(🧣)仅仅是(shì )因为车(chē )轮(lún )(🤘)夹钳。　　Bait是一种黑(🐾)白，手工制作，16毫米(🥋)胶片(piàn )制作(💅)的(🌼)电影(yǐng )。许(xǔ )多(💯)关(guān )(😝)于鱼(🏒)、网、龙(🐡)虾(🈺)、(🤔)长靴、绳(shéng )结(jié )和渔篮(lán )的特写镜(jìng )头让(♌)人想起了蒙太奇(🏴)景点的理论。对不(🐖)同社会(huì )阶层(🔥)的描述——可(🚽)以说(🍁)是阶级关系——也(yě )让(ràng )人想(xiǎng )(🐂)起了英国电影(yǐng )中的社(shè )会现实主(zhǔ )义传统。然而(ér )(🏸)，最(zuì )重要的(🧥)是，在影(🐈)像中(zhōng )(🍯)不同层(céng )次(🈂)的电影历史参考文(wén )献之下，当前许(🛃)多政治(zhì )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.