康沃尔渔村(cūn )(⛲)的风景明信(xìn )(📒)片田园诗误导(dǎo )(🃏)了人们。虽然过去钓(diào )鱼是(shì )(🎺)一(🔧)种养(🎹)家糊口(🐉)的(de )方式，但如(🗼)今富有的伦(lún )(🎾)敦游客(kè )纷纷(fēn )下山(shān )，取代了(le )当地人，当地人的生计因此受到威胁。史(shǐ )蒂(dì )文和马丁兄(🏐)弟的关系也很紧张。马丁是一个没(méi )(🚸)有船的渔夫(🕕)，因为史(🤷)蒂(🔊)文(💞)开始用它来为一整天的游客(🛑)提供(😞)更赚(zuàn )钱的旅游(🌑)。他们(㊗)卖掉了这(zhè )座家庭别(bié )墅，现在看来(lái )，最后一场(chǎng )战斗是和新(🈴)主人(⛏)在海边(biān )的停(tíng )车位上展(⛳)开。然而，情况(kuàng )(🎋)很快就失控(🚴)了(🧣)，而不仅(🌮)仅是因为(wéi )车轮(lún )夹钳(💔)。Bait是一种黑白，手工制作，16毫米(mǐ )胶片制作(zuò )(🌼)的(de )(🚶)电影(yǐng )。许多关(guān )于鱼(🙎)、网(wǎng )、龙虾、长靴(xuē )、绳结(jié )和渔篮的特写镜(jìng )头让(ràng )人想起了蒙(méng )(🔞)太奇(qí )景(📐)点的理论。对不(bú )同社会(huì )阶层的描述——可以(🍁)说是阶(🕕)级关(guān )系——也(yě )让(ràng )人想起(qǐ )了英(👩)国电影(🤼)中的社会(huì )现实主(zhǔ )义传统(🍹)。然(🏸)而，最(zuì )重要的(🔮)是(shì )(👅)，在(🐈)影像(xiàng )(🍯)中不同层(🈂)次的电(diàn )影历史参考文(wén )献之下，当(🙅)前许多(🍾)政治关(🚓)联正(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.