Marie Louise Édouard lives on the island of Rodrigues in the Indian Ocean. She’s stopped diving for octopus, which used to be her livelihood. Ecological influences and changing markets, rules introduced by politicians defining time frames and access.
Audience member: Have you shown them the film (Sec Rouge, 2018) ? Do they have an opinion on how they were represented?
Tom Schön: Not yet. But this is a must. This was the plan from the beginning but after finishing this film we made a feature film out of our material. Which is not a long version of Sec Rouge, it has another perspective and differs in form and content. It’s not so much about the climate of the ocean. Here the ocean is omnipresent. In the feature film, the ocean is far away and we are stuck on land. And we just finished it a couple of months ago and next year the idea is to go back to the island and show the film there. And it’s quite simple to show the film there because every village has a community house and all we need is a projector and two speakers and you can organise it by yourself. This is the plan. This is a necessity.
From a transcript from post screening Q&A of their previous film Sec Rouge with Tom Schön1
Les qualités picturales de l’île Rodrigues, dans l’archipel mauricien, semblent portées par les longs plans patients de Kate Tessa Lee et Tom Schön, leur regard sensible à la composition. Mais si Piqueuses, leur premier long métrage, prétend décrire ce lieu en mêlant les gestes du peintre à ceux de l’anthropologue, le film y prélève remarquablement un émouvant rapport au temps qui devient celui du cinéma.