康沃尔渔(🆓)村的风景明(míng )(📼)信(📒)片(piàn )田园诗误导了(le )人们(🕟)。虽然过去钓鱼是一(yī )种养(🎹)家糊口(🐉)的方式，但如(rú )(🗼)今富(🥩)有(💤)的伦(lún )敦游客(👋)纷纷下(🎏)山，取(qǔ )代了当地(🚤)人，当(dāng )地(dì )人(rén )的(👑)生计(jì )因此受到威胁。史蒂文和马丁兄弟(🚥)的关系也(yě )很紧张。马丁是一个没有船的(🐶)渔(yú )夫(fū )，因为(🐖)史(🤷)蒂文(wén )开(kāi )始用(🌙)它来为一(🔩)整天的游客(kè )提(⏯)供更赚钱的旅(lǚ )游。他们卖掉了这座家(📙)庭别墅，现在看(kàn )(🤸)来，最(zuì )后一(🙀)场战斗是和(hé )新主人在海(🤷)边的停(tíng )(🔔)车位上展开(😍)。然(rán )而，情况很快就失控了，而(⚾)不仅(jǐn )仅是因为车轮夹钳。Bait是一种黑白，手工(gōng )制作(🌹)，16毫(háo )米胶片制(zhì )作(🌼)的电影。许多(duō )关于(yú )鱼、(💿)网(wǎng )(🎥)、(🐡)龙虾、长靴、绳结和渔(yú )(👌)篮(💏)的(📸)特写(xiě )镜头让人(rén )想起(qǐ )了(🏃)蒙太(tài )奇(qí )景点的理(lǐ )论。对(🐖)不同社会(huì )阶层的描(miáo )(📞)述——可以说是阶级关系——(🚻)也让人想起了英国电(💅)影中的(de )社会(🕺)现实主义传统。然(🏸)而(ér )，最(zuì )重(⏺)要的(de )是(👅)，在(🐈)影像中不同层次的电(diàn )影(yǐng )(🖱)历史参考文献之下，当前许(xǔ )多政治关联(📯)正在等待被(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.