康沃尔渔(🌠)村(👷)的风(🆓)景明(míng )信片田园诗误导(🍩)了(le )人们(🃏)。虽(😘)然过去钓鱼是一(yī )种养家糊口的方式(🐉)，但如今(jīn )富有(yǒu )的(de )伦敦游(yóu )客纷(fēn )纷下山(shān )，取(🎏)代(dài )了(le )当地人(rén )，当(🚤)地人的(🐿)生计(jì )因此受到(dào )威(wēi )(🛍)胁。史(🕯)蒂文和马丁兄(🥄)弟的关(guān )系也(yě )很紧张。马丁(🥞)是一个没有(yǒu )船的(🚸)渔夫，因为史(shǐ )蒂(dì )文开(kāi )(🤷)始用它来为(wéi )一(yī )整天的(de )游客提供更赚钱的(🖲)旅游。他们卖掉了这座(zuò )(🥔)家庭别墅，现在看来，最后一场战斗是和新主人在海边的停(tíng )车(👃)位上(shàng )展开。然而，情况很(🏯)快就失(shī )控了，而不仅仅是因为车轮夹钳。　　Bait是(🛎)一(💍)种(🚗)黑(🐾)白(bái )(🦇)，手工制(zhì )作(zuò )，16毫米胶片制作的(🌼)电(🚶)影。许多关于鱼(yú )、网、(🎥)龙虾(xiā )(🈺)、(🤔)长(📧)靴、绳结和渔篮的特写镜头让人想起(qǐ )了(🍽)蒙太(tài )奇景点(📐)的(🔎)理(🌂)论(lùn )(🔙)。对不(bú )(🐖)同社(🖍)会阶(jiē )(💣)层的描(🌸)述——(🏓)可以说(shuō )(🍁)是阶(jiē )级关系——(📤)也让人想(xiǎng )起了(🛃)英国电影(yǐng )中(🤼)的社会现(xiàn )实(shí )主义传(🚤)统。然(rán )(⛴)而，最重要的(de )是，在(🈳)影(yǐng )像中不同层次的电影(yǐng )历(lì )史参考文献之下，当前许(xǔ )多政治(zhì )关(🎞)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.