康(🌠)沃(wò )尔(ěr )渔村(cūn )的(✒)风景(🥇)明信片田园(yuán )诗误导(🃏)了(le )人(rén )们(🕟)。虽(🛍)然过去钓(diào )鱼是一种养(🎹)家糊口(🐉)的方式，但如(rú )今(jīn )富有的伦敦游客纷纷下山，取(qǔ )代了当(dāng )地(🚤)人(🖲)，当地人的生计(🤷)因此受到威胁。史蒂文(wén )和马丁兄弟的关系也很紧张(🥞)。马丁是一(yī )个没(méi )有船的(🐶)渔夫(fū )，因(yīn )为史(shǐ )蒂(🔊)文开始(shǐ )用它来为一(yī )整(🥁)天的游客提供更赚钱的(💱)旅游(yóu )。他们(men )卖掉了(💻)这座家庭别墅(shù )，现在看来，最后一场战斗(⛓)是和新主人(⛏)在海边(biān )(👃)的停车位上(🕙)展开(kāi )(😍)。然而，情(🤳)况(🎋)很快就失控了，而不仅仅是(🗳)因为车轮(💝)夹钳。　　Bait是一(yī )种黑白(bái )，手(shǒu )工制作，16毫米(mǐ )胶片制作的(de )电(🐩)影。许多关(🙎)于鱼、网、龙虾(xiā )、长靴(xuē )、(📛)绳结(jié )和渔篮(🥤)的(🔷)特(👵)写(xiě )镜头让人想起了(le )蒙太(📐)奇景点的理(👄)论。对不同(tóng )(💣)社会(🚡)阶层的描(miáo )述——可以说是(shì )阶(👗)级关(guān )系——也让(👚)人想起了(🧘)英国电影(📬)中的社会现实主(🚩)义传(chuán )统。然(💁)而，最(🧥)重(chóng )要(👅)的是，在影像中(zhōng )不同层(céng )次(🐱)的电(diàn )影历史参考文献(💨)之下，当(dāng )前许多(duō )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.