康沃尔渔(🌠)村的(de )风景(jǐng )明(míng )信片田园(📒)诗误导(🍩)了人们。虽(suī )然过去(qù )钓鱼是一(yī )(🤴)种养家糊(hú )口(kǒu )的方式(shì )，但如今富有的伦(🥩)敦游客纷纷(🌫)下山，取代了(le )当地(dì )(♑)人，当地人的生计(🔸)因此(cǐ )受(shòu )到(🗄)威胁。史(🕯)蒂文(🙍)和马丁(🔲)兄弟的(🚉)关系也很紧张。马丁(dīng )是一(yī )个没有船(chuán )(😻)的渔(🖍)夫，因(yīn )为史蒂文开始用(💞)它来为一整天的游(yóu )客(🌚)提供更(🛑)赚(zuàn )(⏯)钱的旅游。他们(men )卖(mài )掉了这(🥎)座(zuò )家(💻)庭(🗞)别(bié )墅(📙)，现在(zài )看(🏂)来(🙌)，最(🤸)后一场(㊙)战(👓)斗是和(hé )新主人(⏰)在海边的停(🤷)车位上展开。然而，情况很快就失控了，而不仅仅是因(yīn )为车(chē )(🗳)轮夹钳。　(💹)　Bait是一种黑白，手工制作，16毫(háo )米胶片制作(zuò )的电影。许(xǔ )多关于鱼、网(wǎng )、龙虾、长靴、绳(🤥)结和渔(yú )篮的(de )特写镜头(tóu )让(♌)人想(xiǎng )(🥅)起(qǐ )了蒙(🏃)太奇景点的(🔎)理论。对不同社会阶(jiē )层的描述——可以(yǐ )说是阶级(jí )关系——也让人想(🐂)起了英国(👩)电影中的社会现实主义传(chuán )统。然而(ér )，最(zuì )(💁)重(chóng )要的(de )是，在影(yǐng )像(xiàng )中不(🔍)同(tóng )(🌲)层次的电影历史(💛)参(👼)考文献之(🏡)下(xià )(✒)，当(🈸)前许多政治(zhì )关联(🚓)正在等(děng )待被(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.