康沃尔(ěr )(🍅)渔村的风(🆓)景明信片田(tián )园诗(shī )误导了(🔼)人们(men )。虽然过(guò )去钓鱼是一种养家糊口(🎹)的方(fāng )式，但(🌰)如今富(🏴)有的(de )伦敦游(😧)客纷纷下山(shān )，取代(dài )(❣)了当(dāng )地人，当(dāng )地人的(de )(🐿)生计因(yīn )此受(shòu )到威胁。史蒂文和马丁兄弟的关系(🚥)也(yě )很紧张(zhāng )。马丁是(🗑)一个没(✖)有船的渔夫，因为史蒂(dì )文开始用它来为一整天(🚣)的游(🥁)客(kè )提供更赚钱的旅(lǚ )(🔢)游。他们卖(mài )掉了这座(🥔)家庭别(bié )墅，现(xiàn )在看(🏂)来，最后(hòu )一场(chǎng )战斗(dòu )是和新主(zhǔ )人在海(hǎi )(🍄)边(⛏)的(de )(🥫)停车位上展开。然而，情况很快(kuài )就失控了，而不仅(🤖)仅(jǐn )是因为(wéi )(👣)车轮夹钳。　　(💔)Bait是一种黑白(🦇)，手工制作，16毫(👪)米胶(🤷)片制作的电影(💹)。许多关(😝)于(🔈)鱼、(🙎)网、龙虾、长(zhǎng )靴、绳结和渔篮的(de )特(tè )写镜头让人(💸)想起了蒙(🏃)太奇(🏴)景点的理论。对不同社会阶(💣)层的描述(📞)——可以(🎐)说是阶(👛)级关系(xì )——也(yě )(🚻)让(🍺)人想起(qǐ )了(le )英(⏺)国电影中(zhōng )的社会现实主(🎴)义(yì )(😉)传(chuán )统(tǒng )。然而，最(💁)重要的(de )(🧥)是，在影像(xiàng )中不同层次的电影历史参考文(🐅)献之下，当前许多政治(🕵)关(🎞)联正在等待(👆)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.