康(🔨)沃尔渔村的风景明信片田(🔼)园(🌰)诗误导了人(rén )(🕸)们。虽(suī )然过去钓鱼是一(🎹)种养(🥈)家(jiā )糊(hú )口的(🍖)方式，但(🐮)如今富有的伦敦游客纷(🎏)纷下山(🏇)，取代了(le )当地人，当地人的(de )(🤷)生计(🛍)因(yīn )此受到威胁。史蒂文和马丁兄弟的关(guān )系也(yě )很紧张。马丁是(shì )一个没有船(chuán )(🥀)的(de )渔(yú )夫，因(yīn )为史蒂文(wén )开(kāi )(🌙)始用(🧚)它(tā )(🚣)来(lái )(🔩)为一整天的游(⏯)客提(🖲)供更赚钱的(de )(🌑)旅游。他(🥎)们卖掉了(🙂)这座家(✋)庭别墅，现在看来，最(zuì )后一场(chǎng )战(zhàn )斗是(🈴)和(🍄)新主人(rén )在海边的停车(🕙)位上(😍)展(zhǎn )开。然(🏯)而，情况(🕐)很快就(jiù )(🚴)失控(kòng )了，而(🌮)不仅仅是(shì )因为车轮夹钳。
　　Bait是一(yī )种黑白，手(shǒu )工制作(🌼)，16毫米(💯)胶片(piàn )制作(zuò )的电影(🐡)。许多关于鱼、网(📛)、龙(lóng )虾、(📸)长靴(xuē )、绳结和渔(yú )篮的特(tè )写镜头让(ràng )人想(xiǎng )起了(le )蒙(🐖)太奇景点的(de )理论(🌸)。对(duì )不(bú )同社会阶层的描述(👗)——可以说是阶级关(guān )系——也(yě )让(❓)人想起(🕺)了英国电影中(🍹)的社会现(xiàn )实主义(🧥)传统。然(rán )而，最重(🌲)要的(de )是，在(🐱)影像(xiàng )(💛)中不同(🐅)层(céng )次的电影历史参考(🍾)文献之下(xià )，当前(👆)许多政治关(guān )联正在等待(dài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.