诱饵

康沃(👷)尔渔村(⛲)的风景明信片田园(🍩)诗误导了(le )人们。虽(suī )(🛍)然(rán )(🔱)过(guò )去钓鱼是一种养家糊口的方式，但如今富(🥩)有的伦(lún )敦(dūn )(📿)游客纷纷(🎲)下山，取代了当地人(rén )，当地人的生(shēng )计(🤷)因此受(🎡)到(🕖)威胁(xié )。史蒂文和(hé )(🥄)马丁(dīng )兄弟的关系也很紧张(🥞)。马丁是(shì )一个没(méi )有船(🚑)的渔(🥀)夫，因为史(🤷)蒂文开始用它来(lái )为(🚣)一整(🥁)天的游(yóu )客提供更赚钱的旅游。他们卖掉了这座(🙂)家庭别墅，现在看(🤸)来，最后一场(🙉)战斗是(🎾)和(⏰)新主(zhǔ )人在海(hǎi )(🤷)边(biān )的停车(🚻)位上展开。然而(ér )，情(qíng )况(🎋)很快就失(shī )(🧟)控了，而不仅(jǐn )仅是因为车轮(lún )夹钳(qián )。Bait是(shì )一种黑白，手工(gōng )(🏻)制作(🌹)，16毫米(🤷)胶片(🌪)制作(zuò )的电(💹)影。许多关于鱼、网(🎥)、(🐡)龙虾、长(zhǎng )靴、(🤥)绳结和(hé )渔篮的特写(🔷)镜头让(ràng )人想起了蒙太奇景点的理论(🌱)。对(duì )不同(tóng )(🖍)社会(huì )阶层的描述——可以说是(shì )阶级关系(🎦)—(📤)—也让人想起了英(yīng )(👩)国电影中(zhōng )的社会现实主义传(🚩)统。然而，最重要的是(shì )，在影像中(zhōng )不同层次的电影(🖱)历史参(cān )考文献之下，当(🙅)前(🛃)许多政(🕵)治关联正在等(👆)待被(bèi )发(fā )(🍉)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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.