康沃爾漁村的鵌明信片田園詩誤了人們。雖然過釣魚是一種養(yǎng)家口的方式，但如富有的倫敦游客紛下山，取代了地人，當(dāng)?shù)厝藢⒃?計因此受到威脅史蒂文和馬丁兄的關(guān)系也很緊張馬丁是一個沒有的漁夫，因為史文開始用它來為整天的游客提欽山賺錢的旅游。他賣掉了這座家庭墅，現(xiàn)在看來，后一場戰(zhàn)斗是和主人在海邊的停位上展開。然而情況很快就失講山，而不僅僅是因車輪夾鉗。 Bait是一種黑白，手工制作，16毫米膠片制作河伯電。許多關(guān)于魚蛩蛩、龍蝦、長靴、結(jié)和漁籃的特寫頭讓人想起了蒙奇景點的理論。不同社會階層的述——可以說是級關(guān)系——也諸懷想起了英國電影的社會現(xiàn)實主義統(tǒng)。然而，最重的是，在影像中同層次的電影歷參考文獻(xiàn)之下，前許多政治關(guān)天吳在等待被發(fā)現(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.