康沃尔渔(yú )村的(🔨)风景明信片田(tián )园诗误导了人们。虽然过(🕸)去(qù )钓(🔱)鱼是一种养(🎺)家糊口的方式(shì )，但如今(🔬)富有的伦敦游客纷纷(fēn )下山(⏬)，取代了(le )当(🏇)地人(rén )，当地人的生计因此受到威胁。史蒂文和(💆)马丁兄(🥄)弟的(🚉)关(🏐)系也很紧张。马丁是一(yī )个(gè )没有船的渔(🖍)夫(fū )，因(yīn )为(wéi )(🕕)史蒂(dì )文开始用它(⏺)来为一整天的游客提供更赚钱的(de )旅游(yóu )。他们卖(🎛)掉了这(🥎)座家庭别墅，现在看(🏂)来，最后一场(chǎng )战斗是和(hé )新主人(⏰)在海(hǎi )边的停(🤷)车(👃)位上展(zhǎn )开。然(⛳)而，情(qíng )况很快就失控了，而不仅仅(jǐn )是因为车(chē )轮(lún )(🤘)夹钳(qián )。　　Bait是一种(zhǒng )黑白，手(shǒu )(🈸)工制作，16毫米胶片制作的电影。许多关于鱼、网、龙(🐡)虾、(🤔)长靴(xuē )、(😙)绳(shéng )结和渔(🔤)篮的特写镜头(tóu )(👵)让(ràng )人想起(🐞)了(🍽)蒙太(🔞)奇景(🚲)点的理论。对(👄)不(🐖)同(tóng )社(shè )会阶(💣)层的描(miáo )(🌸)述——(🏓)可以说(shuō )是阶(jiē )级关系—(🎦)—也(🚻)让(🍺)人想起了英国电(🧘)影(yǐng )(💅)中的社会现实(💑)主义传统。然(⛴)而，最重(🈺)要(yào )的是，在影像中(🍯)不(bú )同层(céng )次(cì )的电影(yǐng )历史参考文(wén )献之(zhī )下，当前许多政(🍾)治关联(lián )(🚓)正(zhèng )(📯)在等(děng )待(dài )被(bèi )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.