康(🈯)沃尔渔(yú )村(cūn )的风景(jǐng )(⛲)明信片田园诗误(🐌)导了人们。虽然(rán )过去钓鱼是一(yī )种养家糊口的方式，但(🌰)如今富有的伦(🥩)敦(dūn )游客纷(📿)纷下山(⏬)，取(🎏)代了(le )当地(♑)人(📼)，当地人(rén )的生计因此受到(🗄)威胁。史蒂文和马丁兄(xiōng )弟的(🚉)关系也(🐖)很紧张。马丁是一个没(✖)有船的渔(🖍)夫，因为(wéi )史蒂文开(kāi )始用它来(lái )为一(yī )整天的游(yóu )客提供更(gèng )赚钱(😞)的旅游。他们卖掉了这座家(jiā )庭别墅(shù )(📙)，现在(🐑)看(kàn )来，最(🤸)后一场(㊙)战斗是(shì )和新主人在(zài )海(🍄)边的停车位上展开(🤲)。然(⛳)而，情况很(hěn )快就失控了，而不仅(jǐn )(🤖)仅是因为(👣)车轮夹钳。　　Bait是一种黑(🐾)白，手(shǒu )工(gōng )制(zhì )作，16毫米胶(jiāo )片制作(zuò )(💅)的(🌼)电影(yǐng )。许多关于鱼、网、龙虾、(🤔)长(zhǎng )靴、绳(shéng )结和(📛)渔(🔤)篮的(💏)特写镜头让(ràng )人想起了(🍽)蒙(🏃)太奇(🏴)景点的理论。对不同(tóng )(🆙)社会(huì )阶层的描述(📞)——可以说是阶级(jí )关系——也让(🍺)人想起(qǐ )了英国电影中的社会现实主(🎴)义传统。然而，最重(chóng )要(yào )的是，在影(🐈)像中不(🔍)同层次的(de )(🚪)电影历史参(cān )考文献(xiàn )之(zhī )下，当(🈸)前许(🛃)多政治关(🎞)联(lián )(🚓)正在等(♊)待被(🔍)发现(xiàn )。　　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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.