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康(🌠)沃(wò )尔(ěr )渔村的风景明信片田园诗误导了人(rén )(😘)们。虽然过(🕰)去(🤢)钓(🤴)鱼是一(🔧)种(zhǒng )养家糊口(🐉)的方式(🍖)，但如今富有的伦敦游客纷(fēn )纷下(xià )山(shān )，取(🏇)代了当地(🚤)人，当地人的生计因(yīn )此受到威胁。史蒂文(wén )和马丁(🚉)兄弟的关系(xì )(🛺)也很紧(jǐn )张(zhāng )。马(😚)丁是一个没(🚸)有船的渔夫，因为史蒂文开始用它来(lái )为一整天的游客(kè )提供更(gèng )赚钱的旅(lǚ )游。他们卖掉了(💻)这(zhè )座(zuò )家庭别(✋)墅，现在(zài )看来，最后一(yī )场战斗(⛓)是和新主(🍄)人在海边(👃)的(de )(🧤)停车位(🤲)上(shàng )展开。然而，情况很(🥕)快就失控了(le )，而不(🕯)仅仅是因为车轮夹钳。Bait是(💍)一种黑(hēi )白，手工(🏻)制(zhì )作，16毫米(mǐ )胶片(🌪)制作(🌼)的电影。许多(😝)关于鱼、网、(🐡)龙虾、长(zhǎng )(🔍)靴、绳结(📛)和(hé )(🔤)渔篮(💏)的特写(xiě )镜头(♌)让人想起(🍽)了(🏃)蒙(méng )太奇(qí )景点的理论(lùn )。对不同社(shè )会阶(🔥)层(céng )的描述——可以说是阶级(jí )关系——也(🍺)让人(🐂)想起(qǐ )(🛃)了(le )英国电影中(❓)的社会(🕺)现实主义(🚤)传(🚩)统(tǒng )。然而，最(zuì )重要的是，在(🐈)影像中(🔍)不(bú )同(tóng )(💕)层次(cì )的电影历(lì )史参考(kǎo )文献(xiàn )之下，当前许(xǔ )多政治(zhì )(🎞)关联正在(zài )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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