(👷)康(kāng )沃尔渔村(🐽)的风(📼)景明(🏽)信片田园(🌰)诗误导了人们(men )。虽(🕰)然过去钓鱼(🔧)是一种养家(jiā )糊口的方式，但(🐮)如今(jīn )富有的伦敦(👋)游客纷(fēn )(🎏)纷下山，取代(😎)了当(dāng )地人(🐿)，当地(dì )人的生计(jì )因(🎡)此(cǐ )受到威胁。史(shǐ )蒂文和马丁兄弟(🕌)的(🛺)关系也很紧张(zhāng )。马丁是一个(gè )没(🚑)有船的(🕕)渔(yú )夫，因为史蒂文开始用它来为一整(zhěng )天的(🛑)游客提供(gòng )更赚(zuàn )钱(🦗)的旅(lǚ )游(🌊)。他(tā )(🥎)们卖(mài )掉了这(zhè )座家庭(tíng )别墅，现在看来(㊙)，最后一(💪)场战斗(⏰)是和新主人(rén )在海(hǎi )边的(de )停车(🕙)位上展(zhǎn )开。然而，情况很快(kuài )就(jiù )失(shī )控了(le )，而(ér )不(bú )仅仅是(🈁)因为车轮夹(🏉)钳。
　　Bait是(shì )(🌹)一种黑白(🥋)，手工(gōng )制(zhì )作，16毫米胶片制作(zuò )(🙎)的(💿)电影。许多关于鱼、网、龙虾、(📸)长(zhǎng )(🥤)靴、绳结和渔(yú )篮的特写镜头(tóu )让(ràng )人想起了蒙太奇景点的(de )(🔥)理论。对(⏳)不同(tóng )社会阶(jiē )层的描述——可以(🍺)说(🔪)是(🐂)阶级关系(xì )——(💅)也(yě )让人(rén )想起了英(🎴)国(guó )电(diàn )影(yǐng )中的(de )社会现实主义传统(👅)。然而，最(zuì )重要的是，在影像中不(😲)同(🐅)层次(🏡)的电(diàn )影历史参(🛌)考(🍾)文献之下，当前许多政(zhèng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.