康(🈯)沃尔渔村(cūn )的风景(jǐng )明(míng )信片田园诗误导了人(🌰)们。虽(😘)然(🕟)过去钓(🔱)鱼是一(🤴)种养家糊(hú )口的方(🥈)式(shì )，但如今富有的伦敦(dūn )游客纷纷下山，取代了当(🏇)地人，当地(dì )人的生计(🔸)因(yīn )此受到威胁(🎡)。史蒂文和(💆)马丁兄弟的关系也很紧(🛺)张(zhāng )。马(mǎ )丁是一个(gè )没有(🙁)船的(de )渔夫，因(yīn )为(wéi )史蒂文(wén )开始用它(⏺)来为一整(zhěng )天的游客提(📯)供(gòng )更赚钱的(de )旅游。他(tā )们卖(🎛)掉(🌊)了这座(🥔)家庭别墅，现在看来，最后(🌞)一场战(👓)斗(🙀)是和(💪)新主人在海边的(de )停车位上展开。然(rán )而，情况(⛳)很(🏯)快就(jiù )失(shī )控了(🐀)，而(ér )不仅仅是因为车(chē )轮夹(jiá )钳。　　Bait是一种(🚗)黑(🐾)白，手工制作，16毫米(mǐ )胶(🤷)片制作的(🌼)电(diàn )影。许多关(😝)于鱼(yú )、网(💿)、龙虾、长靴、(😙)绳结(jié )和渔篮的特(📸)写(🥤)镜头让人想(xiǎng )起(qǐ )(🐞)了蒙(méng )太奇景点(📐)的理论(🔙)。对不同社会阶(jiē )层的描述——可以(yǐ )说(shuō )是阶级(🕕)关系(👗)—(🎦)—也让(ràng )人(🔪)想起了英国电影中的(❓)社会现实(💑)主义(😉)传(chuán )统。然(⛴)而(🏸)，最(zuì )重要的是，在(zài )影像(xiàng )中(zhōng )不同(🌲)层(céng )次的(de )电影历史参考文献之下，当前(qián )许(🛃)多政(zhèng )治(zhì )关联(lián )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.