身为公关经理的海伦（Gwyneth Paltrow 饰）却在某天早上遭遇了失业的打击，她满怀失落地走向地铁，命运就在滑动门的左右发生变化。　　赶上地铁的海伦回到家发现男友的奸情，使得劳燕分飞。为了迎接新的生活，海伦改变了发型，在电梯间邂逅了富有魅力的男子詹姆斯（John Hannah 饰）。新的恋情悄然开始……　　错过地铁的海伦也错过了男友与情人欢愉的场面，他们的恋情仍在继续。男友小心周旋在两个女人之间，却难免有败露的一天……　　滑动门机械地一开一关，命运随之悄然改变。

当费伊·班克斯秘密参加一个竞赛，以赢得第一次载人火星任务的席位时，她从来没有想过会eee。但当危险的单程旅行变成现实时，她在地球上的生活就颠倒了。时间不多了，费伊必须决定是离开丈夫、家人和朋友，还是永远的离开让她意识到她在这世上拥有的一切

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however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.

邪教集体自杀的成员三十年后，唯一的幸存者返回到与拖纪录片船员的悲剧一幕。