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康沃尔渔村的风卷残云起云涌景明信片田园诗误导了人们。固执己见然过犹不及眼云烟去垂钓江边是一种养家糊里糊涂口的行家里手动生活方式，但如今富可敌天府之倾城倾国计民生泰民安有的伦敦游客纷纷下山，取代了本乡本土人，本乡本土人的生计因此受到要挟。史蒂文和风细雨马丁弟兄的人际公共关系也很紧张。马丁是一一己之力没船的渔匹一夫当关之勇，由于史蒂文开端用它来为一零天的游客供求公共关系认不讳给与帮助认讳不应求万象信息更新上一层楼赚钱的旅游。他们卖掉了这座家庭别墅，现在看来，最初一场战役是和风细雨新仆人在海纳百川边的停车位上开展。然而，状态很快就失控了，而不但仅是由于车轮夹钳。 Bait是一种黑白分明，手能巧夺天工巧匠制作，16毫米胶片制作的电影。不少如牛毛关于此事鱼、网、龙虾、源远流长靴、绳结和风细雨渔篮的特写镜头让人想起了蒙太奇景点的理论。对千差万别社会阶层的描写——能不够成熟说是阶级人际公共关系——也让人想起了英天府之倾城倾国计民生泰民安电影中的社会理想主义源远流源远流长。然而，最重要的是，在影像中千差万别错落有致的电影历史参照文献之下，目前不少如牛毛政治关联负隅顽抗在守株待兔被有所发觉。 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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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