简介：康沃尔渔村的景色明信片田园诗误导了人们。尽管曩昔垂钓是一种养家糊口的方法，但现在赋有的伦敦游客纷繁下山，替代了当地人，当地人的生计因而遭到要挟。史蒂文和马丁兄弟的联系也很严重。马丁是一个没有船的渔夫，由于史蒂文开端用它来为一整天的游客供给更挣钱的旅行。他们卖掉了这座家庭别墅，现在看来，最终一场战役是和新主人在海滨的停车位上随同。但是，状况很快就失控了，而不仅仅是由于车轮夹钳。　　Bait是一种是非，手艺制造，16毫米胶片制造的电影。许多关于鱼、网、龙虾、长靴、绳结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绘——可以说是阶层联系——也让人想起了英国电影中的社会现实主义传统。但是，最重要的是，在印象中不同层次的电影前史参考文献之下，当时许多政治相关正在等候被发现。　　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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.。