康沃尔渔村(👷)的风景明信片田园诗误导了人们。虽然过(🕸)去钓鱼是一种养家(🔧)糊(🎗)口的方式，但如今富(🏴)有的(🐮)伦敦游(😧)客纷纷(fēn )(🌫)下(xià )山，取代(dài )了当地人，当(🚤)地人的生(shēng )(🕔)计因(👑)此受到威(wēi )胁。史(🕯)蒂(👁)文(wén )和马丁(dīng )兄(xiōng )弟的关系也(yě )(🐖)很紧张。马(mǎ )丁是(🗑)一(yī )(😚)个没(✖)有(🙁)船的渔夫，因为史蒂文开始(shǐ )(🔊)用它(tā )来为一整(🧚)天的(🔩)游客提(tí )供(gòng )(🚨)更赚钱(😞)的旅游(❔)。他们卖掉了(㊗)这(zhè )座(zuò )家(jiā )庭别(bié )墅，现(✋)在看来，最后一(yī )场战斗是和新主人在海(🍄)边的停车位上展开。然而，情况很快就失控了，而不仅仅是(🕯)因为车轮夹(jiá )钳。　　Bait是一(yī )种黑(hēi )白，手工(gōng )制作(🐛)，16毫米胶片制作的电影。许多关(😝)于鱼、网、龙虾、长靴、绳结和(hé )渔篮的(💏)特写镜头让人想起了(🍽)蒙(méng )太(tài )奇景点(📐)的理(🌂)论。对不同(🆙)社会(huì )阶层(🔥)的(🚡)描述(📞)——可(🚽)以说是(shì )阶级(jí )关系——也(yě )让人想起了英国电影(yǐng )(💅)中的社(shè )会现(🕺)实主(zhǔ )义传(🚤)统。然而(ér )，最重要的是，在影像中(zhōng )不同层(céng )次的电影历史参考文献之下，当(🈸)前(🙅)许(🛃)多(🛌)政治关联正在等(♊)待被(bèi )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.