康沃尔渔村的风黑暗信片田园诗误导了人们虽然过去钓鱼是一种养家糊口的方式，但如今富有的伦敦游客纷繁下山，取代了外地人，外地人的生计因此遭到要挟史蒂文和马丁兄弟的关系也很紧张。马丁是一个没有船的渔夫，由于史蒂文末尾用它来为一整天的游客提供更赚钱的旅游。他们卖掉了这座家庭别墅，如今看来，最后一场战役是和新主人在海边的停车位上展开。但是，状况很快就失控了，而不只仅是由于车轮夹钳。 Bait是一种黑色，手工制造，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实践。对不同社会阶级的描画——可以说是阶级关系——也让人想起了英国电影中的社会事实主义传统。但是，最重要的是，在影像中不同层次的电影历史参考文献之下，以后许多政治关联正在等候被发现。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
