康沃尔渔村的风(fēng )景明信片(🏽)田园诗误导了人们。虽然(rán )过去钓鱼是(🎺)一种养家(🆖)糊口的方式(🍖)，但如今富有的伦敦(dūn )游客纷纷下山，取代了当地(dì )人，当地人的(de )生(🎩)计因此(🛍)受到威胁。史蒂文和马(mǎ )丁(🚉)兄弟(🚥)的关系(xì )也很(🎿)紧张。马(😚)丁(🍮)是一个没(🚸)有船(🚑)的渔夫，因为(🐖)史蒂文开始用它来(🧚)为一整天的游客(🛑)提供(gòng )更赚钱的旅游。他们(㊗)卖掉了这座家(📙)庭别墅，现在(zài )看来，最后一场战(💪)斗是(🎾)和新主(🍄)人(rén )在海边的停车位上(🕙)展开。然而(⛳)，情(qíng )况(kuàng )很(hěn )快就失(shī )控了，而(ér )不(🕯)仅(jǐn )仅(👣)是因(yīn )为(wéi )车(chē )轮(💝)夹钳。Bait是一(yī )种(zhǒng )黑白，手工制作，16毫米胶片制作的电影(yǐng )。许多关(🔈)于鱼、(💿)网、龙虾、(📧)长靴(😙)、绳(⏲)结和(hé )渔(👌)篮的特(tè )写镜头(♌)让人(🥅)想起(qǐ )了蒙太(tài )奇景点的理论。对(🐖)不(bú )同(🖍)社(shè )会阶层的(de )描述(shù )——可以说是阶(jiē )级(😳)关系(🎦)——也让人想起了英国(guó )(🧘)电影中(zhōng )的社会现(xiàn )实(shí )主(zhǔ )(😉)义传(🚩)统。然而(ér )(❄)，最重(chóng )要的(de )是，在影(🔬)像(🍯)中不(bú )同(💕)层次的电影(yǐng )历(💛)史参(cān )(😲)考文献之下，当前许多(duō )政治关联正(🐇)在等待被发现。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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.