康沃(wò )尔(ěr )渔村的风(fēng )景明信(xìn )片田园(📒)诗误(wù )导了人们。虽然过(🕸)去(qù )钓鱼是一种养家(jiā )糊(hú )口(kǒu )(🎹)的(de )方式，但如(rú )今富有的伦敦游客纷纷下山，取(🎏)代了当地人(rén )(📼)，当地人的(🐿)生计因此受(shòu )到威胁。史蒂文和马丁(🔲)兄弟的关系也很紧张。马丁是一(yī )个没有(yǒu )船(😻)的渔夫(🚑)，因(🥀)为史蒂文开始(shǐ )(🔊)用(yòng )它(tā )来(🚢)为一(yī )整(zhěng )天(🚣)的(🔩)游(yóu )客(🌚)提(tí )供(🚨)更赚钱的(🖲)旅游。他(tā )们卖掉了这座(zuò )家庭(tíng )(🗞)别(bié )墅，现在看(kàn )来(lái )(🙌)，最(🤸)后一场战斗是和新主(🎾)人在(zài )海(hǎi )边的停车位上展开。然(rán )而(😍)，情况很(🏯)快就失控(kòng )(🕐)了，而不仅仅是因为车轮夹钳。　　Bait是一种黑(hēi )白，手工制作，16毫(👪)米胶(jiāo )片制作(zuò )的(🌼)电影。许多关于鱼(🏒)、网、龙虾、长靴、绳(shéng )结和渔篮的特写镜头(👵)让人(💸)想(🥅)起了(🍽)蒙(🏃)太奇景(🚲)点的(🔎)理论。对(duì )不同社会阶(💣)层的描述—(⏳)—可以说是(shì )阶级(🕕)关系(👗)——也让人(🔪)想起了(🛃)英(yīng )国电影中(zhōng )的社会(✖)现实主(🎴)义传统。然而(🏸)，最重要的是，在影像(🔬)中不(🔍)同(tóng )层次的电影(yǐng )历史参考文献之下(xià )，当前许多(duō )政治关联正在(zài )等待(dài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.