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康沃(wò )尔渔村(👷)的风景明信(🐽)片田(tián )园诗误导了人(🌰)们。虽然过去(🛍)钓鱼是一种(zhǒng )养(yǎng )家糊口(🎹)的(🆖)方式，但(dàn )(🌰)如今(🔬)富有的伦(lún )敦游客(kè )纷(fēn )纷(🌫)下山，取代了当地人，当(dāng )地人(⚫)的生计(🔸)因此受到威胁。史蒂文(wén )和(💆)马丁(dīng )兄弟的关系也很(🕌)紧(jǐn )张(zhāng )。马(mǎ )(🎫)丁(dīng )是(🗑)一(😚)个(gè )没有(yǒu )船的(🚸)渔夫，因(yīn )为史蒂(dì )(😱)文(wén )开始用它来(🚢)为一整天的(🔩)游客提供(gòng )更(gèng )赚(zuàn )钱(😞)的旅游。他们卖(mài )掉(🌊)了这座家(💻)庭(tíng )别墅，现在看(kàn )来，最后一场战斗是和(hé )新主人在(zài )海(🍄)边的停车位(wèi )(🧤)上展开。然而，情(qíng )况很快(🤳)就(🎋)失控了，而不(🧣)仅仅(jǐn )是因为车轮夹钳。 Bait是一种黑(hēi )白，手工制作，16毫米(mǐ )胶片制作的电(diàn )影(💹)。许多关于鱼(🏒)、网、龙(lóng )虾(🈺)、长靴、绳结(jié )(⏲)和(📛)渔篮的特(📸)写镜头让人想起了(🍽)蒙太(🔞)奇景点(📐)的理论。对不(🐖)同(🆙)社会阶(💣)层(🔥)的描述——可以说是阶(jiē )级关(😳)系——(📤)也(🚻)让(ràng )人想起(qǐ )了(le )英国电(diàn )影中的(de )社会现实主(zhǔ )(🎴)义传统。然而(ér )，最重要的是(shì )，在(zài )影像中不同层次的(de )电影历史(shǐ )参考(kǎo )文献之下(✒)，当前许多(🛌)政治关(guān )联正在等(děng )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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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