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Since the Spanish conquest, Mexico has been the embodiment of a Western mythological reverie. That of the Amazons who guided the conquerors in their quest for the new land, but also that of the idealization of the new world through its luxuriant vegetation, the opening up of medicine through new plants and the evangelical desire for a better world.

In the 19th century, a community of French people crossed the Atlantic to settle in Jicaltepec along the Nautla River in the Veracruz region of Mexico. These French families, simple farmers for the most part, succeeded in building up large farms over the generations in spite of a hostile tropical climate and nature. If a part of the European fantasy made sense from the first contact with the new world, it also destroyed a large part of a "first" knowledge by merging with the pre-Columbian peoples. This conception of the world confronted with an advanced technology paradoxically gives rise to a visual matter that takes the form of constellations of information recalling a link to the cosmos, but also to a form of mathematical essence that seems to govern us all.

Tropics draws an orbit around these territories. It is to the rhythm of a sound pulse resonating in a space without end nor gravity that the film tries to freeze time, men and unveils the spectrum of a lost paradise. It is a question of representing here a frozen memory, a world of calculated data giving birth to a kind of archaeology above the ground whose exploration gives us the feeling of visiting another dimension. From this dimension, we hear the voices of the visited people expressing their secret stories, their relationships with the ghosts of a past time, their capacity to communicate with this beyond in which the spectator is floating.