康沃尔渔村的风物明信片故乡诗误导了人们。固然已往垂纶是一种养家生存的方法，但如今富有的伦敦游客纷纷下山，代替了本地人，本地人的生存因此受到威胁。史蒂文和马丁兄弟的干系也很告急。马丁是一个没有船的渔夫，由于史蒂文开始用它来为一整天的游客提供更赢利的旅游。他们卖掉了这座家庭别墅，如今看来，末了一场战斗是和新主人在海边的停车位上睁开。然而，环境很快就失控了，而不但仅是由于车轮夹钳。
　　Bait是一种好坏，手工制作，16毫米胶片制作的影戏。很多关于鱼、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。对差别社会阶层的形貌——可以说是阶层干系——也让人想起了英国影戏中的社会实际主义传统。然而，最紧张的是，在影像中差别条理的影戏汗青参考文献之下，当前很多政治关联正在等待被发明。
　　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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.