(🌠)　康沃尔渔(✒)村的风景明信片田(tián )园(🌰)诗(shī )误导(dǎo )了(🕟)人(🕸)们(🛍)。虽然过去钓鱼是(🎗)一种(zhǒng )养家糊口的方(🔬)式，但如(🥩)今(jīn )富有的(📿)伦(lún )敦游客纷纷(❣)下(xià )山，取代了当地人(rén )，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(hěn )紧张(zhāng )。马丁(dīng )是一个没有船的渔(yú )夫，因(🤷)为(🔊)史(shǐ )蒂文开始(shǐ )用它(🚣)来为一(yī )整天的(🛑)游客提(tí )供(gòng )更赚钱(qián )的(de )旅游(yóu )。他们卖掉了这座(🔝)家庭(🐑)别墅，现在看(🙄)来(lái )，最后一场(chǎng )战(zhàn )斗(⏰)是(shì )和新主人(rén )在(👃)海(hǎi )边的(de )停车位上展(zhǎn )开。然而，情况很快就失控了，而(ér )不(👣)仅仅是(shì )因为(wéi )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(xǔ )多关于鱼、网(wǎng )、龙虾(💏)、长靴、绳(shéng )结和渔篮的特(tè )写镜头(📐)让(🔎)人想(🔙)起了(le )蒙太奇(🖍)景点(💣)的理论。对不(bú )同社会阶层的描述——(📤)可以说是阶级(🛃)关(⏺)系——也(yě )让人(rén )想(✖)起了(le )英国(guó )电影中的社会(huì )现实主义传统(👅)。然而(🔬)，最重要(💕)的是(🚪)，在影(yǐng )像中不(bú )(😲)同层次(cì )的电影历史参考文献(🎞)之(🚓)下，当前(👆)许多政治关联正在(🎁)等待(dài )被发现(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.