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康沃尔渔村(👷)的风景明(míng )(✒)信(🐽)片田园(yuán )诗误导(dǎo )了人们。虽然(🕟)过(🕸)去(qù )钓鱼是(shì )一(🤴)种(zhǒng )养(yǎng )家糊口的方式，但如(rú )今富(fù )有的伦敦(💤)游客纷纷下山，取代了当地人，当(🚤)地人(rén )的生计因此受到威胁。史蒂文(🙍)和马(mǎ )丁兄弟的关系(🚥)也很紧张(zhāng )。马丁是一个没有(yǒu )船的(🚸)渔夫，因(yīn )为史(🤯)蒂文(wén )开始用(💞)它来为一整(🧚)天(🚣)的(de )游客提供更赚钱的旅游(❔)。他(tā )们(🌑)卖掉(🌊)了这座(🥔)家庭别墅，现在看(kàn )来，最(🤸)后(hòu )一场战斗是和(hé )新主人在(zài )海边的停车位上(shàng )(🔔)展开(kāi )。然而，情况(kuàng )很快就失控(🕐)了，而不(🧣)仅(jǐn )仅是(shì )因为车轮夹钳。 Bait是(🛎)一(yī )种黑白，手工(➡)制作，16毫(👪)米胶片(🃏)制(zhì )作(💅)的(🌼)电影(💹)。许多关(😝)于(yú )(🔈)鱼、网、龙(lóng )虾、长靴(xuē )、绳结和(📛)渔篮的特写镜头让(♌)人(💸)想起了蒙太(🔞)奇景(jǐng )点(📐)的理(🌂)论。对不同社(🖍)会阶层的(🚡)描述——可以说是阶级(jí )关(guān )系(👗)——也(🚻)让人想起了英(yīng )国电影中的社会(huì )现(🕺)实主(zhǔ )义传统(tǒng )(🚩)。然(rán )而，最(zuì )重(chóng )要的是，在(zài )影(yǐng )像(🔬)中不(🔍)同层(céng )次的电影历史(shǐ )参(👼)考文献之下，当前许多(duō )(🛌)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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