El Sótano de Radio Belgrado · Emilio Lopez Santos

Bait (Carnada / Bait 3D)

February 20, 2026·1 hr 16 min·6 clips

A tsunami traps shoppers with sharks inside a flooded Australian supermarket.

1. El Sótano de Radio Belgrado covers Bait (2012), an Australian exploitation horror film about sharks loose in a tsunami-flooded supermarket, also known as Bait 3D and Carnada. 2. The two regular co-hosts present without guests; one is identified as 'Pod' and both specialize in horror, exploitation, and genre cinema. 3. The episode's analytical frame is that Bait exemplifies a tradition of serious Australian exploitation filmmaking that predates and outperforms American Asylum Studios output by 20 years. 4. The film is co-produced by Singapore, which required the incorporation of a Singapore destination subplot — a character announces plans to move there — which the hosts treat as an intentional absurdist running joke. 5. Director Kimberl Rendall is revealed to have been a member of Australian rock band Jodo Gurús and served as second-unit director on all three Matrix films, I Robot, Ghost Rider, the Underworld lycanthrope film, and Nicolas Cage's Next. 6. Rendall's director of choice was animatronic sharks throughout, but budget forced the use of digital CGI in several scenes, which the hosts identify as the film's primary flaw. 7. Russell Mulcahy — director of Highlander and Razorback, both previously covered in the podcast's exploitation cycle — wrote the Bait script and was originally attached to direct before his Teen Wolf television commitments prevented it. 8. The hosts argue Mulcahy's script quality and creature-feature experience (Razorback being a monster-in-the-outback film) explain why Bait is structurally competent beyond its premise. 9. The film's plot involves Josh (Xavier Samuel), a lifeguard traumatised by his best friend Ryan's shark-attack death, now working at a supermarket after his engagement to Ryan's sister Tina collapsed when she moved to Singapore alone. 10. The supermarket setting is compared to the 1994 film Clerks and to Intruder, with the hosts noting the Australian film achieves a similar working-class authenticity while adding thieves and police to the trapped-in-location premise. 11. The digital CGI shark's first appearance, described by one host as 'cantando la traviata,' breaks suspension of disbelief but the animatronic sequences inside the flooded supermarket are praised, including one involving an underwater shotgun. 12. The film was shot and presented in Real 3D (2012), leading to a discussion of the false-3D versus genuine 3D distinction that dominated that era, with The Hobbit cited as the best authentic 3D experience. 13. The episode transitions into a 20-minute digressive discussion of European supermarket chains: Aldi is praised as a cult destination with German apricot yogurt and computer peripherals; Mercadona's new T9 store model is discussed, including plans to remove fishmonger and butcher counters in favour of pre-packaged products. 14. The hosts debate Mercadona's in-store dining concept, arguing it serves an economic need for workers who cannot afford restaurant lunch menus but creates an 'alienating' experience. 15. Lidl is noted for its rotating discount sections (the 'Lidl Week' products) particularly its Parkside tool brand, and for offering frozen seafood by weight; it is described as having a 'cuñado' (brother-in-law) demographic identity. 16. Alcampo is mentioned as catering to a wealthier clientele in certain Madrid neighbourhoods, offering specialty products not found in mass-market chains. 17. The tone throughout is enthusiastic, irreverent, and digressive — the hosts treat both exploitation cinema and supermarket discourse with equal analytical affection. 18. The format is a co-hosted roundtable covering one film per episode with substantial pre- and post-film tangents; the episode runs approximately 75 minutes. 19. This episode will satisfy listeners who enjoy enthusiastic B-movie analysis combined with knowledge of Australian exploitation cinema history and are comfortable with Spanish. 20. Listeners seeking tight film criticism without extended off-topic digressions, or those unfamiliar with Spanish, will not find this format efficient.

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