康沃(🕕)尔渔村的风(fēng )景(jǐng )明信片田园诗误导了人们。虽然过去钓鱼(yú )是一种(zhǒng )养家糊口(🎹)的(🆖)方式，但如(rú )今富有的伦敦游客纷纷(fēn )下山，取代了当地(♑)人，当地人的生(shēng )计因此受到威胁。史蒂文和马(mǎ )丁(🔲)兄弟(dì )的关系也很(hěn )紧(jǐn )(🛺)张。马(mǎ )(🎫)丁是一个(gè )没(méi )(✖)有(yǒu )船的渔(🖍)夫(🚑)，因为史(🤯)蒂文开始用它(tā )来为一整(zhěng )(🧚)天的游客(kè )提供更(gèng )赚钱的旅游。他们卖掉了(le )这座家(jiā )庭别墅，现(✋)在(🐑)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(rán )而，情况(⛳)很快就失(🥕)控(kòng )了(🐀)，而(ér )不仅仅是因(yīn )为(wéi )车(🗳)轮(🤘)夹钳。　(💹)　Bait是一种(zhǒng )黑(🐾)白(🦇)，手工制作(🐛)，16毫米胶片制作的电(diàn )影。许多关于(🔈)鱼(🏒)、(🙎)网(wǎng )、龙虾、(🤔)长靴、绳结(⏲)和渔篮的特写(🥤)镜头让人(💸)想起(🐞)了蒙太(tài )奇景(jǐng )点(📐)的(🔎)理论。对不(bú )同社会阶(jiē )层(céng )的描(miáo )(🌸)述——(🏓)可(kě )以说是阶级关系(xì )——也让人想起(👚)了(🛃)英(⏺)国电影中的(❓)社会(huì )(✖)现实主义传统。然(rán )而(ér )，最重(🈺)要的(🧥)是，在影像中不同(🌲)层(céng )次的(de )电影历史(💛)参考(kǎo )文献之下，当(🈸)前许(🛃)多(🛌)政治关联(lián )正在等待(👆)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.