康沃尔渔村的风景明信片田园诗误导了(le )人(😘)们(🕟)。虽然过去(🤢)钓鱼(🍥)是一种养家糊口(🐉)的方(🌰)式，但(dàn )如(🗼)今富有的(de )伦敦游客纷纷下山，取(🏇)代了当地人，当(dāng )地人的生计因(🗄)此受(shòu )到威(🕯)胁。史蒂文(wén )和马丁(dīng )兄(🏐)弟的关系(xì )也很紧张。马丁(dīng )是一个没有船(chuán )的渔夫，因为史(shǐ )蒂(dì )文开始用它(📎)来为一(yī )整天的(de )游客提(tí )供更赚钱(❔)的旅游(yóu )。他(🌊)们卖掉了这座家庭别(✋)墅，现(🙌)在看(🤸)来，最(zuì )后一场战(💪)斗是和新主人(rén )在海边的停车位(wèi )上展开。然而(⛳)，情况很(🥕)快就失(🧟)控(🚴)了，而不仅仅是因(yīn )为车轮夹(💹)钳。Bait是(shì )一种黑白(😊)，手工制作，16毫米胶片制(zhì )(💅)作的电(diàn )影。许(xǔ )多关于(🏒)鱼、网、(🐡)龙虾(🤔)、长(🔍)靴、(🤥)绳(shéng )(⏲)结和渔篮(💏)的特(tè )写镜头让(ràng )人想起了蒙(méng )太奇(qí )景(jǐng )点(diǎn )的理(lǐ )论(🌱)。对不同社会阶层的描(📞)述(⏳)—(🏓)—可(🎐)以说是阶(jiē )(🕕)级关系(xì )——也(yě )让人想起了英(👩)国电影中的社(shè )会现实主义传(🚩)统(🍹)。然(rán )而，最重要的是，在影(yǐng )像(🍯)中不同层次的电(diàn )影(🖱)历史参考(🐅)文献之下，当前许多(🍾)政治(🎞)关联正在等(děng )待(dài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.