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康沃尔渔村的风景明信片田园诗误导了人们。虽然過去钓鱼是(shi)一种养家糊口的方式，但如今富🔕有的伦敦游客纷纷下山(shan)，取代了当地人，当地人的生计因此受到威胁。史蒂🪁文和马丁兄弟的关系也很(hen)紧张。马丁是一個没有船的渔夫，因为史蒂文(wen)开🔔始用它來为一整天的游客提供更赚钱的旅(lü)游。他们卖掉了这📇座家庭別墅，现在看来，最后一场战斗是和新主人在(zai)海边的停车位上展开。然而，情况很快就失控了，而不仅🛸仅(jin)是因为车轮夹钳。Bait是一种黑白，手工制作，16毫米(mi)胶片制作的电影。许多關于鱼、网、龙虾、长靴、绳结和渔🏦篮的特写镜头让(rang)人想起了蒙太奇景点的理论。对不同社会🍹阶层的描述——可以说是階级(ji)关系——也让人想起了英国电影中的🌱社会现实主义传统。然而，最(zui)重要的是，在影像中不同層🎉次的电影历史(shi)参考文献之下，当前许多政治关联正在等待📂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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.