康沃尔(ěr )渔村的风景明信片田园诗(shī )误导了人(rén )们(men )。虽(😘)然过去(qù )钓鱼(yú )是一种(🍥)养家糊口的(de )方式，但如今富(🏴)有的伦敦游客纷(fēn )纷下山，取代(❣)了当地人，当地人(rén )的生(🕔)计因此受到威胁(xié )(🎡)。史蒂文(🙍)和马(mǎ )丁兄(🥄)弟的关系也很紧张。马(🎫)丁是一个(🍮)没有船(😻)的渔夫，因(yīn )为史蒂文(🐖)开始用(yòng )(💞)它来为一整天的(🔩)游(yóu )客提供(🚨)更赚钱的旅游(yóu )。他们卖(🎛)掉了这座(🥔)家庭(tíng )别(bié )墅，现在看来(🙌)，最(🤸)后一(yī )场战斗(dòu )是和新主(🎾)人在海(hǎi )边(biān )的停车位(wèi )上展开。然而，情(qíng )况很快就失控了，而不仅仅(jǐn )(⚾)是(shì )(🕯)因为车轮夹钳。　　(💔)Bait是(shì )一(💍)种黑白(bái )，手(🈸)工制(zhì )作(zuò )，16毫米胶(jiāo )片(piàn )制作的(de )电(diàn )影。许多(duō )关于鱼、网、龙虾(xiā )、长靴、绳结和渔篮(👌)的特写镜头让人想起了(🍽)蒙太奇景(🚲)点的(🔎)理论。对(👄)不同社(shè )(🖍)会阶层的描述—(⏳)—可(🚽)以说是(🔲)阶级关系(👗)——(📤)也(🚻)让人想起(👚)了(🛃)英国电影中的(de )(❓)社(📬)会(huì )现(xiàn )实主义传(🚤)统。然而(ér )(🏸)，最重要的是(shì )，在影像中不同(tóng )层次(cì )的电影历(lì )史(shǐ )参考(😲)文(🐅)献之(zhī )下(xià )，当(🈸)前(qián )许多政治关(🎞)联正(📯)在等待(👆)被发(fā )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.