康沃爾漁村的風景明片田園詩誤導了人們雖然過去釣魚是一種家糊口的方式，但如富有的倫敦游客紛紛山，取代了當?shù)厝耍?地人的生計因此受到脅。史蒂文和馬丁兄的關系也很緊張。馬是一個沒有船的漁夫因為史蒂文開始用它為一整天的游客提供賺錢的旅游。他們賣了這座家庭別墅，現(xiàn)看來，最后一場戰(zhàn)斗和新主人在海邊的停位上展開。然而，情很快就失控了，而不僅是因為車輪夾鉗。 Bait是一種黑白，手工制作，16毫米膠片制作的電影。許多于魚、網(wǎng)、龍蝦、長、繩結(jié)和漁籃的特寫頭讓人想起了蒙太奇點的理論。對不同社階層的描述——可以是階級關系——也讓想起了英國電影中的會現(xiàn)實主義傳統(tǒng)。然，最重要的是，在影中不同層次的電影歷參考文獻之下，當前多政治關聯(lián)正在等待發(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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
