A question about Moholy-Nagy's 'Lobsters' film

My query here then, with regard to Lobsters, is how this biocentrism is developed in the film, not only through an exploration into how film might affect the senses, but also on the level of subject matter and morale: what does Moholy-Nagy wish to communicate about this species, its potential capture, and the vitality of the fishermen that depend on the deliverance of lobsters as food?