康(🈯)沃尔(🍅)渔(yú )(🌠)村的风景明信片田园诗误导了(🔼)人(rén )们。虽然(rán )过去钓鱼是(shì )一种养家糊口的方式，但如(rú )今(🔬)富(🏴)有的(de )伦敦游客纷纷(🌫)下山，取代了(le )(🌗)当地(♑)人，当地人的(de )生计因此受到威胁。史(shǐ )蒂文和马丁(🔲)兄(xiōng )弟的关系也很紧(🛺)张。马丁是(🗑)一个没有船的渔(yú )夫(fū )，因为史蒂(dì )(😱)文开(kāi )始用它(⏺)来(🚢)为(wéi )一(yī )(📎)整天的(de )游客提供更(gèng )赚钱的旅(🔢)游。他们(men )卖掉了这座家庭别(🙂)墅，现在看来，最后一(🙄)场(chǎng )战(👓)斗是和(hé )新主人在海(🍄)边的停车位上(shàng )展开。然而，情况(kuàng )(⛳)很快(🤳)就失控了(🐀)，而不(🧣)仅仅是(shì )因为(👣)车(🗳)轮(lún )夹钳(❕)。　　Bait是一种(zhǒng )黑白(🦇)，手工制作，16毫米(🥋)胶片制作的电影。许多(duō )关于鱼、网(💿)、龙虾、长靴、(😙)绳结和渔篮的特写镜(jìng )头让人想起了蒙(méng )太奇(🏴)景(jǐng )(🚲)点的理(🌂)论(🔙)。对不(bú )同社(🖍)会阶层的(de )描(miáo )(🌸)述(shù )(📞)—(⏳)—可以说(shuō )是阶级(jí )关系—(🎦)—也让(ràng )人想起了英(⏺)国电影(💅)中的(❓)社会(huì )现实(shí )主义(😉)传统。然而，最重要(yào )的是，在影像中(zhōng )不同层次的(de )电影历史参考(😲)文献之(zhī )下，当前许(🛃)多(duō )政治关联(🚓)正在等待被发(fā )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.