康(🔨)沃尔(ěr )渔村的(🥇)风景(jǐng )明信片田园(yuán )诗误导了(🕟)人们(men )。虽(suī )然(🤢)过(🤴)去(qù )(🍥)钓鱼(yú )是一(yī )种养家(🐉)糊(🛤)口的(🍖)方式，但如今富有的伦敦游(⏬)客纷(fēn )纷下山，取代了当地(⚫)人(rén )，当地人的生计(jì )因(🎡)此受到威胁。史蒂文(🛹)和马丁兄弟(dì )的(🛺)关(guān )系(xì )也很(🥞)紧张。马丁是(😻)一个(🖍)没有船的(🕕)渔夫，因为史蒂(⏺)文开始用(yòng )它来为一整天的(de )游客提供更赚钱的旅游。他们卖掉了这(📙)座家(jiā )庭别墅，现在(zài )看来(㊙)，最(zuì )后(hòu )一(yī )(💪)场战斗是和新(xīn )(⛏)主人在海边的停车位(⛳)上展开。然而，情况很(🐀)快就失控了，而不(bú )仅(🗳)仅(jǐn )是因(❕)为车轮夹(jiá )钳。
　　(😊)Bait是(shì )一种黑白，手工(gōng )制(💅)作(🌼)，16毫米胶片制作的(💿)电影。许多关(🔍)于鱼、网(wǎng )、龙(👌)虾、长(🥤)靴(xuē )、绳结和渔篮(🍽)的特(tè )写镜(jìng )头让(🔎)人想(xiǎng )起(🌱)了蒙(méng )太奇景点(💣)的理(lǐ )论。对(duì )不同(🚽)社会阶(jiē )层的描述——可以说是(shì )阶级(🛃)关系——也让(ràng )人想起了(le )英国(guó )电(🚤)影(🚩)中的社会现(xiàn )实主(zhǔ )义传统。然而，最重(chóng )要的(🈂)是，在(zài )影像中不(😲)同(🐅)层次的电影历(🙅)史(🛃)参(cān )考(🍾)文献之下，当前许(🔍)多政治关联正(zhèng )在等待被(bèi )发现(xiàn )。
　　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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.