康沃尔(🍅)渔村的风(🆓)景明(míng )信(🐽)片(piàn )田园诗误导了人们。虽然过(guò )去钓鱼(🕰)是(🤢)一种养家糊(hú )口的方(fāng )式，但(dàn )如今富(🏴)有的伦敦游客纷纷下山，取(🎏)代了(le )当地人，当地人(⚫)的生计(jì )因此受到(dào )威(wēi )胁。史蒂文和(💆)马丁兄弟(🛹)的关系也很(🕌)紧(jǐn )张。马丁是一(yī )个没有船的(de )渔夫(fū )，因为史(shǐ )蒂文开始(shǐ )用它(tā )(⏺)来为一(📎)整天(🚣)的(de )游客(🌚)提(📯)供更赚钱(qián )的旅(🔢)游。他(tā )们卖掉了这座家庭别(bié )墅，现在看来，最(🤸)后一场战斗(🙀)是(🙉)和新主(🎾)人在海边(biān )的停车位上展开(kāi )。然而，情况很(hěn )快就失控了，而不仅仅是(shì )因为车(🗳)轮夹(🈁)钳。　(💹)　Bait是一(yī )种黑(hēi )白(bái )，手工制作，16毫米胶片制作的电影。许(xǔ )(🐩)多(💯)关于(yú )鱼、网(wǎng )、龙虾、长(zhǎng )靴、绳结(⏲)和渔篮(lán )的(💏)特写镜头让人(💸)想(🥅)起(🐞)了蒙(méng )太奇景点(📐)的理(lǐ )论。对不同社会阶(💣)层(🔥)的描(🌸)述——(🏓)可以(🎐)说是(shì )阶级(jí )关系(👗)——也让人想(xiǎng )(🐂)起了英国(guó )电(🧘)影中的社会现实主(zhǔ )义传统(🚩)。然而，最重(chóng )要的(de )是，在(zài )影像中不(🔍)同层次(🈂)的电影(🐱)历史参考文献之下，当前许多(duō )(🛌)政(🍾)治关联(🚓)正在等待被发(fā )(🏗)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.