康沃尔渔村(👷)的风(🆓)景(jǐng )明(✒)信片田园诗误导了人们。虽然过去(qù )钓鱼是一种(🍥)养(yǎng )家糊口(🎹)的(de )方(fāng )式，但(🌰)如今(jīn )富(🏴)有的伦(lún )敦游客纷(📿)纷下山(shān )，取代了(🌗)当地(dì )人(rén )(📼)，当(🚤)地人(rén )的生计因此(cǐ )受到威(🛍)胁。史蒂(👁)文和马(mǎ )(✳)丁兄(🥄)弟的关系也很(🕌)紧(jǐn )张。马丁是一个没(méi )有船(chuán )的渔夫(fū )，因(yīn )为(🕕)史蒂文开始用它来(🚢)为一整天(🚣)的游客(kè )提(tí )(📯)供(🚨)更(🛑)赚钱(qián )的旅游(yóu )。他们卖(🎛)掉(🌊)了(㊗)这座家庭(🗞)别(bié )墅，现在看来，最后一(🙄)场(chǎng )(㊙)战(zhàn )(👓)斗(dòu )是和新主人在海(hǎi )(🍄)边的停车位上展开。然(⛳)而，情况很快就失控了，而不仅仅是因为车(chē )轮夹钳。　(💹)　Bait是一种黑(hēi )白，手工制作(🐛)，16毫米胶片制作的电影。许(xǔ )多关于(yú )鱼(yú )、网(wǎng )、龙虾、长靴、绳(shéng )结和渔(yú )篮的特写镜(🔷)头让人想起了(🍽)蒙太奇(qí )景(🚲)点(📐)的理(lǐ )论。对(👄)不同(🆙)社会(huì )阶(💣)层(🔥)的(🚡)描述(📞)——可以说是阶(jiē )级(🕕)关系——也让人想起了英国电影中的社会现(xiàn )实主义传统。然而，最重要的(de )是，在(zài )影(yǐng )像中不同(tóng )层次的电影(🐱)历史参考(kǎo )文献之(zhī )下，当前许多政治(🕵)关(guān )(🎞)联(🚓)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.