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康沃尔渔村的风景明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纷下山，取代了当地人，当地人的生计因此受到威胁 。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，因为史蒂文开始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
，现在看来，最后一场战斗是和新主人在海边的停车位上展开。然而，情况很快就失控了，而不仅仅是因为车轮夹钳

。Bait是一种黑白，手工制作，16毫米胶片制作的电影
。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理论。对不同社会阶层的描述——可以说是阶级关系——也让人想起了英国电影中的社会现实主义传统。然而 ，最重要的是

，在影像中不同层次的电影历史参考文献之下，当前许多政治关联正在等待被发现
。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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images .