essay on my octopus teacher

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Diver Craig Foster with the octopus from the Oscar-winning film “My Octopus Teacher.”

Courtesy of Netflix

So why did you love ‘My Octopus Teacher’?

Colleen Walsh

Harvard Staff Writer

Scholars reflect on the somewhat surprising appeal of the popular, award-winning documentary

It was such an unlikely hit. A quiet nature documentary shot by naturalist and filmmaker Craig Foster in his backyard — a lush kelp forest in False Bay, South Africa, teeming with marine life — and depicting his yearlong encounter with a cephalopod. The 2020 Netflix release “My Octopus Teacher” became a viral sensation, a critical darling, and an Oscar winner. But the question remains: Why?

For many it was likely the perfect pandemic-era antidote: a feel-good, otherworldly escape from a horrific year. But for others, including a number of scholars who took part in a recent virtual Harvard talk, the film’s appeal has as much to do with its emotional weight, the allure of its unlikely, nonhuman star, and the filmmaker’s perseverance.

Burned out by his work and suffering from depression, Foster explains early in the film that he was seeking a way to recharge and reconnect with his family when he started free diving near his home. It was during one of his first excursions that he spotted the octopus. “Then I had this crazy idea,” he tells an off-camera interviewer. “What happens if I just went every day?”

That persistence and his ability to track and follow an animal in the wild, particularly in a marine environment, struck neuroscientist David Edelman, a visiting scholar at Dartmouth who is researching visual perception, cognition, and their neural bases in the octopus. Edelman offered his comments during a wide-ranging discussion about the film on Monday, sponsored by Harvard’s Mind Brain Behavior Interfaculty Initiative and moderated by Harvard Law School Professor Kristen Stilt, who also directs the School’s Animal Law & Policy Program .

Following an animal like that in the wild, particularly in the ocean, is “extraordinarily rare,” said Edelman, adding that such a feat proved challenging for even the great marine biologist Jacques Cousteau. “Unless you have some sort of tracking device, it’s going to be very difficult.” (Foster notes in the documentary that he honed his tracking skills while in the Kalahari Desert on another film project where he met “some of the best trackers in the world.”)

Alex Schnell, a researcher in the University of Cambridge’s psychology department who studies intelligence in cephalopods, said she was impressed with Foster’s perspective on “this intimate interaction” with an animal known for being antisocial. Foster brings a “new perspective to this animal without a backbone that one might think you wouldn’t normally relate to … you can’t help feeling really emotional throughout the entire film, and I think that makes it really special, the intimacy of the whole interaction,” said Schnell.

Megan Mueller, (clockwise from upper left), Kristen Stilt, David Edelman, and Alex Schnell discuss the unique human and animal connection captured in “My Octopus Teacher.”

Kris Snibbe/Harvard Staff Photographer

For Megan K. Mueller, co-director of the Tufts Institute for Human-Animal Interaction, part of the reason the film is so compelling is because it’s not entirely clear who the main character is. “It’s presented as the story of the octopus, but really it’s about [Foster], and it’s through his lens,” said Mueller. During the film Foster struggles with his own emotions, in particular whether to interfere when the octopus is threatened, lending the narrative another level of complexity. “He really grapples with that.”

The panelists agreed the film involves some level of anthropomorphism, and that Foster slips into complicated territory when describing his close connection with the animal. The filmmaker’s own strong emotional attachment made it hard for him not to “assume what the octopus might be feeling,” said Schnell. She suspects that rather than the octopus befriending Foster, its repeated close encounters with the filmmaker were likely the result of a “fear barrier” being broken down and a “gained familiarity” that allowed for a more “intimate interaction.” Foster frames it as a friendship, said Schnell, “which is beautiful in its own way, but I don’t think that’s exactly what’s happening.”

Mueller cautioned that “we misinterpret interactions with dogs and cats all the time because we are projecting our human behaviors on them,” and that the same could have been happening in the film. “On the flip side,” she said, “if we are feeling more socially connected to animals, we are more likely to advocate for them.”

Edelman acknowledged that there is still much to be learned about the inner lives of octopuses. While their biology may appear entirely alien — their copper-based blood is blue, and their brains are essentially “wrapped around their esophagus” — they are intelligent creatures, he said, and research may one day prove they possess a higher level of awareness.

But the technology isn’t there yet. While recent research has shown that the area of the brain responsible for positive emotions in humans was also activated in dogs during MRI scans, the current imaging technique will not work in octopus or any other cephalopod.

Stilt is working with the Animal Law and Policy Clinic to get octopuses protected under the Animal Welfare Act, which regulates the treatment of animals in research. She wondered about their exclusion from the 1966 federal law. Schnell said she expects movement in the U.S. sometime soon on the question of whether cephalopods are sentient, a significant hurdle for protection, based in part on recent research that shows octopuses respond to pain.

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“My Octopus Teacher”: Plot and Main Themes

My Octopus Teacher is a documentary directed by Pippa Ehrlich and James Reed and released by Netflix in 2020. It depicts a year that a filmmaker, Craig Foster, spent observing a common wild octopus in South Africa (Ehrlich and Reed). The documentary has only two protagonists who are Craig Foster and the octopus with whom he formed a relationship close to friendship. At first sight, the film may seem to raise the only problem that is the connection between people and wild nature that is almost lost nowadays due to the influence of technological progress. However, after deep analysis and careful consideration, it becomes evident that the documentary deals with more issues than human-animal relationships, though it is still the major theme of the film.

The film does not say anything about human-animal relations explicitly since Craig Foster tried to show the viewers the life of the octopus and other ocean inhabitants. After seeing the picturesque views of the sea world and the author’s eagerness to study it combined with non-intervention, the audience understands the importance of guarding the connection with the wild world people almost lost. Thus, the film represents human-animal politics implicitly by showing that animals and people are alike, and the latter should take care of the former.

The relations between the human and wild natural world and inhabitants are shown not only by the commentaries of the narrator but by the video itself. Craig Foster managed to film not only the octopus but its natural habitat and other animals living there. He combines several cinematic techniques in order to let the viewers see the sea world from different angles. Long and medium shots enable the audience to see the location in more detail and as if to dive into the ocean with the operator and the protagonist. In contrast, a close-up shot helps the viewers get emotionally involved in the scene and look at the inhabitants of the ocean in a more detailed way (Jacklin). Apart from that, Craig Foster often uses such techniques as tracking shots and point-of-view shots. They let the viewers see the octopus closely and even trace Foster’s way from the shore to the octopus’s den.

The combination of the cinematic techniques described above enables the audience to see not only the world under the ocean but the life of the animals who live there as well. The detailed videos, in combination with the bright and vivid explanations and descriptions given by Craig Foster, make the audience get emotionally involved in ocean life. In addition, the point-of-view shot the operator often uses helps the viewers see everything through Foster’s eyes and share his view. As a result, at the end of the movie, people have a wide and picturesque view of the animals who live in the ocean and octopuses in particular. This understanding makes the viewers reflect on the relations among people and wild nature that is almost lost, as well as the nature itself is negatively influenced by human beings. Thus, the author does not try to put any message about human-animal relationships into the viewers’ heads, but he makes them think of it themselves. In order to do that, he shows ocean inhabitants as organisms almost equal to humans with their instincts, fears, and even feelings.

The film presents the relations between the human and the octopus that are demonstrated in an unusual way. On the one hand, the narrator implements the elements of drama, such as the recovery of the octopus after the attack of the shark or the final scenes of the octopus’s death. On the other hand, the author introduces the action-movie-like scenes, for instance, the octopus’s escape from the shark or the shark’s attack and the octopus’s wound at the end of it (Enrlich and Reed). At the same time, despite the detailed examples of ocean life, the author supports the idea of non-intervention into wild nature. Thus, he does not try to domesticate the octopus despite their mutual trust, and throughout the whole movie, he does not give her a name that means that the animal stays wild. The operator takes the role of an observer whose goal is to study the ocean life without changing it. Such actions of his teach the viewer to interact with nature without ruining it.

One of the most significant problems presented in the film, apart from the relationships between humans and animals, concerns the things Craig Foster understood after observing the octopus. In the middle of the film, after spending some time studying the octopus’s life, he confesses that doing it made him reflect on his personal life. At the beginning of the film, Foster says that he had an emotional burnout and was not able to enjoy his life and work or give love and support to his family (Enrlich and Reed). However, seeing the octopus paving her way through difficulties and dangers, the author drives a parallel with human life. “And it gave me a strange sort of confidence that she can get past trough this incredible difficulty. And I felt in my life, I was getting past the difficulties I had. In this strange way, our lives were mirroring each other” (Ehrlich and Reed 46:48-47:05). Thus, people may study the lives of other animals in order to find similarities with their own ones and to see that all living beings are alike in some way.

To conclude, it is necessary to say that My Octopus Teacher is not a typical documentary about ecology. Moreover, the narrator does not give any message throughout the film, he just demonstrates the day-by-day life of an octopus. The viewers may figure out the message themselves, and it may not be related to the ecology or human-animal relationship since everyone is different and, thus, will see the different issues the film deals with.

Works Cited

Jacklin, Ben. Best Cinematography Techniques. Movavi, 2019.

Linden, Sheri. ‘My Octopus Teacher’: Film Review. The Hollywood Reporter, 2021.

My Octopus Teacher. Directed by Pippa Ehrlich and James Reed, performance by Netflix, 2020.

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Home Topics Wildlife Octopus scientists love ‘My Octopus Teacher’ just as much as you do

Octopus scientists love ‘My Octopus Teacher’ just as much as you do

DUBBED “ the love story we all need right now ”, Netflix’s new documentary film My Octopus Teacher looks at the unusual relationship between a diver and an octopus. 

Set in a kelp forest off the Western Cape of South Africa, we follow diver Craig Foster encountering an initially cagey, but soon forthcoming cephalopod for almost its entire lifecycle, shedding light on the animal’s incredible intelligence.

Representations of interspecies friendships can often be filled with anti-science, so we asked a couple of Australian octopus experts what they thought of the film.

A “wonderful” introduction to octopuses

Marine biologist Jan Strugnell has been studying octopuses for 20 years. She’s primarily a geneticist, investigating their toxicity and evolution, though she’s also studied Antarctic and deep-sea octopuses. 

She came to watch My Octopus Teacher after a glowing recommendation from a colleague. In Jan’s opinion, the film is a “wonderful” introduction to octopus behaviour and adaptation.

“I’ve been lecturing on cephalopods and their adaptations recently to my aquatic ecophysiology class, and so I’ll be recommending it to them as they’ll love it.”

Jan says there’s certainly some level of anthropomorphism in the documentary, but believes the benefits outweigh that. 

“I think it inspires people to appreciate their natural world, to understand it’s complexity, to learn about the complex interactions that are occurring constantly and the interdependence of marine animals.”

One of the most incredible scenes from the documentary is the octopus’s use of shells to camouflage itself, making it look like a random ball of intense colours and shapes. Jan is all too familiar with this behaviour, adding that they’ve even been known to harness coconut shells for the same effect.

“I think sticking shells or even sand to themselves is similar to this broader shell use,” Jan says.  “They will readily use whatever means they have available to them to avoid detection and survive predation.  

“The documentary does a great job at showing just how vulnerable an octopus is to predation.  Since they’ve lost their own shells, through the course of evolution, they’ve really had to adapt to become very skilled at camouflage in order to survive long enough to reproduce.”

While some viewers have taken issue with the narrator (Craig Foster) centring himself in a film when they really just want to be seeing cool octopus behaviours, Jan sees its value.

“I think the documentary works because of the vulnerability of the narrator and, as viewers, we learn how the experience of spending time in nature, and specifically with the octopus, has changed him.

“I think his slower pace of life and taking time to experience the same location every day is really special and helps us reflect on our busy lives and what wonderful things can be gained by spending time in nature.”

A good job at highlighting the complex intelligence of octopuses

Marine biologist Zoë Doubleday first studied octopuses for her PhD a decade ago, and has worked on cephalopods on and off since then, studying movement and dispersal, responses to environmental change, fisheries, and basic biology and ecology.

As for her opinion on My Octopus Teacher , she says it was a great film, although a bit “overblown” in some parts. 

“There were a few lines that were anthropomorphised and made me cringe. For example, ‘she is short-lived so she makes the most out of every day and ‘she is constantly alone and hunted’. Well, every animal is hunted and many are alone. 

“Also, ‘she dies for her offspring’, but octopuses are also cannibalistic, so they’re not that good.”

Zoë also takes issues with the dramatisation of the octopus losing her arm.

“I’m sure losing an arm is traumatic for the octopus – but it’s also common. I regularly caught large octopuses in Tasmania with one, two, even three missing arms. And they’re always growing back,” which may be a relief for concerned viewers. 

Overall, it does a good job at highlighting the complex intelligence of octopus, she says. 

“A few of the behaviours were new to me, but none of it surprised me. They always seem to be doing something crazy and new.

“The fact that they are so short-lived, but appear as smart as a dog or other mammal is most fascinating. Individuals seem to adapt and learn independently. I mean, how do they learn all this in such a short time without parents? Just imagine if they lived for 50 years.”

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The Powerful Message of My Octopus Teacher

April 12, 2021.

An interview with Roger Horrocks to learn more about shooting My Octopus Teacher.

When it comes to documentaries, the importance of having a great cinematographer often gets overlooked compared to their contribution to artier narrative fare. When you have a doc like Pippa Ehrlich and James Reed ’s My Octopus Teacher , where so much of the film takes place underwater, you need to have an able underwater cinematographer to capture the story being told.

My Octopus Teacher tells the story of filmmaker Craig Foster , who decided to take a break from filmmaking by snorkeling in the kelp forests off the coast of his hometown of Cape Town, South Africa. For almost a decade he would take daily trips into the cold water, and there, Foster encountered an octopus that would show him what few other humans have experienced. Eventually, Foster called upon Roger Horrocks , the DP of some of his earlier films, to go into the ocean with him to capture and document this unlikely friendship that was turning into a deeply moving nature story.

It’s probably little surprise that Foster’s story in My Octopus Teacher has connected with both critics and people in the film industry, having won the BAFTA Award for Best Documentary over the weekend and why it’s nominated for an Oscar in the same category.

Below the Line spoke with Horrocks over the phone from his home in South Africa to learn more about what was involved with shooting My Octopus Teacher .

Below the Line: Before we get into My Octopus Teacher, what originally got you into underwater photography and filming? When and how did that start?

Roger Horrocks: Yeah, that’s a good question. I was actually involved in corporate for 10 years. I worked in digital and financial services, but I grew up on the coast, spearfishing, and just had great, passionate memories of the ocean and a deep connection with the ocean. I was doing an MBA and that made me realize that I did not want to be in corporate anymore. I then reconnected with some of my old spearfishing friends and through them actually got work as an assistant on one of the BBC series, Nature’s Great Events , and you know how it works. It’s an apprenticeship model, and through that, I met Didier Noirot , who was Jacques Cousteau’s cameraman. We became good friends, and he really became a mentor. Once that happens, you realize that it’s just doing your apprenticeship, and then eventually, you get the chance to start shooting yourself.

BTL: I assume there are different types of lenses and cameras, when you’re working underwater. Did that experience as an apprentice get you more knowledgeable about that?

Horrocks: Yeah, very much. so. I mean, you learn on the field. You obviously do all the prep. It’s exactly like in the features world, you work your way up through the different sort of levels. Because our teams are so much smaller, you start pretty much as an assistant, and then eventually, after 5, 6, 7, 8 years of doing that, you get your chance to shoot. If that’s acceptable and on level, then you start to get work as a shooter.

BTL: Craig kind of started on this, filming himself, so at what point did you come on and did he bring you on, or did Pippa and James come to you?

Horrocks: Craig had very much gone through this sort of journey. We actually met in 2006. We’d actually made three films together over that period, up until about 2011. In fact, he mentions the burnout. It was on those projects, that he got burnt out, the projects that we worked on together. But he then got very involved in the kelp forests, as the film shows, going in every day and starting to learn. I was looking for a story to shoot for Blue Planet 2 , the big BBC series. He had mentioned to me that he had started to uncover the secrets of the kelp forests, and we actually started working together on that sequence for Blue Planet 2 . In that process, we shot a massive archive of material, which is what enabled us to make… a lot of the footage for My Octopus Teacher came from that critical period of documentation.

BTL: Did James get involved because Craig had gotten burnt out?

Horrocks: No, I think it was as the idea for the film became more and more stronger in his mind, Craig really needed help. It’s very difficult to be in a movie, to shoot it, and to edit it yourself. I think Pippa was really instrumental in coming in and really helping him to start to work the story. It was very much a project he was kind of doing for himself, and then when Netflix got involved — as I understand it, because I wasn’t super-involved in that process, I’d really delivered a lot of the material. They brought James on right towards the end to really give it a structure.  I think he was instrumental in that interview process. He did the interviews with Craig and created that backbone for the film. It was a wonderful kind of collaboration of different people. You know, often too many cooks spoil the broth, but I think in this case, it really enhanced the broth fantastically well.

BTL: Structure may be the most important part of documentary filmmaking, because you can have a lot of great interviews and a lot of great footage, but if you can’t tie it all together, it won’t work.

Horrocks: Exactly, exactly. As I say, I’ve worked with Craig, and I’ve seen the evolution of these stories. What I love about the film, because in a way I shot it, I did the material, then I moved away from it, but it’s an archetypal story structure, isn’t it? It’s like a man or a person around the campfire telling this brilliant story, this emotive story, and it’s so simple in its structure and yet so powerful in a way.

BTL: How much time did you spend underwater filming Craig and his friend? How much footage did you end up with?

Horrocks: I think in that process, we must have just together done probably about 80 days over a period of time, and then obviously Craig was going in every day There was quite a massive amount of material to choose from. I was shooting on a Red Dragon, and then he was shooting primarily on his Panasonic G-Tough, that small little camera but it has an incredible macro ability. We sort of evolved the style of shooting just through… we’d go and shoot and then we’d come back, and we would download and we would correct proxies and then go through every single bit of footage and log it and discuss it. Out of that emerged the kind of visual style of the film I guess, to a degree.

BTL: I’m sure a lot of people ask you this but what sort of prep do you have to do with the camera to be able to take it sometimes pretty deep underwater?

Horrocks: I use Nauticam housings, they’re really brilliant. It’s basically an all-mechanical interface. So you’ve got your Red inside an aluminum housing with a really good dome, so your optics are good.  It becomes second nature. To be honest, I can’t dive now without a camera. I kind of feel uncomfortable. It’s quite big, but it’s become such a fundamental part of me. I’ve been shooting now for 15 years as a cameraman, so it’s just completely second nature. But that’s it. I mean, basically, it’s no different from shooting above water, except that you can’t change lenses. You’re kind of stuck with that one lens that you choose to take under for that dive.

BTL: That was my next question: What happens if you want to change lenses? Do you just go up or just change things for the next day’s shoot?

Horrocks: That’s exactly what I’ve done now. I’ve actually invested, so I have three Red bodies now, so I have the luxury of being able to take two systems with me. That means that I can be covered from say 10mm to 70mm, which is just so fantastic, because it means that in a given scenario, you can get the tight coverage, you can get the wide coverage. But the go-to lens we used was the Nikon 1755. Ironically, we use stills glass behind a dome because it resolves better than PL glass behind a dome, but that was my go-to classic photojournalist lens, in full-frame would be like a 24 to 70.

BTL: This film is so intimate in capturing this relationship that Craig has with the octopus, so it’s just the two of you. You don’t have any crew or anyone else there to help with the shoot?

Horrocks: No, it was very much just the two of us, and then obviously Craig, when he was going in on his own, just freediving, he’d be setting his camera up on a rock and then filming himself or just filming close-ups of his eyes or his hands.  I think that was key. I try as much as possible to minimize the amount of people in the water, because it definitely has a kind of energetic impact on the animals, for the negative.

BTL: As far as lighting the film, do you have lights with you down there especially in the darker areas of water?

Horrocks: No, I’m violently — when I say “violently” it’s a strong word — but I’m very opposed to using any form of lights underwater. We were diving shallow. There was no need for lights, and it really was just a case of trying to make the most…  and I mean you’ve seen the material. That kelp forest in the late afternoon and early morning with the rays of light and then it’s just such an incredible place. The problem underwater with lighting is you get what’s called back scatter, so you pick up a lot of particulate. If I do use lights, I don’t want anyone to be able to see that I’m using lights to create a bit of shadow or shaping the lights in any way, but no, I’ve never used lights. Well, certainly on this film I definitely didn’t use any lights.

BTL: But that limits you to daytime shooting, doesn’t it?

Horrocks: Yeah, very much so. Also on this project, we were really shooting around the low tide, because it was the calmest. That was one of the big challenges, of course, is that you’re in a shallow with rusty and swell and trying to keep things stable. That’s why the documentary-style really worked well. Even when I was shooting on the long lens, I was actually using a Nikon 70 to 180 macro lens to get some of the real tights. I actually avoided using a tripod, just because I wanted to kind of keep that slacky, more reportage feel running through the film. Yeah, it worked really well.

BTL: Did that help with holding things steady when you have waves or other underwater movement?

Horrocks: You’d think that you want tank-like conditions, but of course, when you’ve got tank-like conditions, there’s no sediment, there’s nothing moving around — the whole energy, the visual interest of the screen just fades. So that was one of the benefits, obviously, on the Red is we could overcrank —  we can shoot 80 frames, 90 frames a second, going really, really tight, and you’d get these incredible moments. If you shot three minutes, you might only get literally four or five seconds of usable material that was sharp and working and really in focus, but it’s just absolutely magical. The key always is not for the viewer to see or to notice the slow motion. You’re not  using it to try and say, “Hey, look at this, this is slow motion.”  You just want to allow enough time for the viewer to see the octopuses’s eye up close, for example. It was an interesting journey of learning, as you go in tighter, the different frame rates that would work and it then would cut with material that was shot in real-time without there being any sort of sense of disconnect. BTL: You were changing frame rates while framing, so that stuff wasn’t done in post?

Horrocks: No, no, no. You obviously don’t want to violate the 180 rule from a technical perspective. So you really want to try and dial in your frame rates — you definitely don’t want to be doing that in post. I mean, you can. So for example, sometimes, if you think the producer might want to use it slow, you can shoot at 60, and then they can speed it up to 30. But you definitely don’t want to go from like 90 to 30, because then the image will be too sharp and things like that. I always spend quite a lot of time trying to work out which subject, which speed, which frame size, and then which frame rates will be optimal for that.

BTL: Did Craig film the testimonials himself or did that come about when Pippa and James came on board? Was he telling the story after all the filming had already been done?

Horrocks: Yeah, that was kind of his reflection on that whole journey. That was you know more towards the end of the production cycle.

BTL: I’m sure this was the case when Jaques Cousteau was very popular on TV, but have you found that a lot of people are getting into scuba after watching these movies you make, wanting to experience those worlds for themselves?

Horrocks: I think COVID had a lot to do with it. I don’t know if it’s been the same there, but there’s been a massive explosion of people cycling and snorkeling and if you go down to the beach now early in the morning, there’s way more people going in and snorkeling in the kelp forests and things like that. Definitely, the film helped with the snorkeling, but COVID, in general, has definitely evoked that people just getting out more and just really appreciating nature more.

BTL: I guess it goes without saying that the ocean is fairly COVID-free?

Horrocks: Exactly. It’s much better. COVID free and it’s cold, which obviously has all those benefits, all that cascade of goodness into your body that Craig speaks about in the film. It really is.

BTL: I saw that you have a company that sells stock underwater footage, so have you been shooting stuff this whole time while working on other things?

Horrocks: Yeah, I’ve been very fortunate. I’ve worked as a shooter for BBC Netflix, I’ve actually been working primarily for Netflix since 2019, 20. I’m now working on a big ocean series for Netflix. Unfortunately, you can’t travel very well, but in South Africa, there’s just so many great stories. I’ve been very busy the last two years, even during lockdown, which has been wonderful

BTL:  What would you like people to get out of this movie when they watch it?

Horrocks: Really just for me, one of the great privileges I’ve had is to spend a lot of time with dolphins in the ocean and just the realization that the gradient that separates animals and us is actually very small. We are so like them, and they are so like us. Once you start to feel that empathy, and I remember one critic described My Octopus Teacher as an empathy engine, and I thought that was a brilliant insight into the power of the film. For me, that’s what it’s all about. It’s about opening your heart and connecting with things that you wouldn’t normally connect with. That, for me, is the great insight o

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Greater Good Science Center • Magazine • In Action • In Education

The Healing Effects of Experiencing Wildlife (The Science of Happiness Podcast)

Safe encounters with wildlife can deepen our appreciation for nature, and for other people. craig foster of “my octopus teacher” shares his transformational experiences with the animals of the ocean..

  Scroll down for a transcription of this episode .

Episode Summary

Venturing into nature and experiencing wildlife can be transformative. Safe interactions with wildlife encourage us to be more in relation with nature, and each other. In this episode, we hear from Craig Foster of “My Octopus Teacher” and how his interactions with sea creatures have changed his life. We also hear from environmental researcher Liz Lev about the effect on our well-being that being in wild spaces provides.

How To Do This Practice:

The next time you want to explore the outdoors, find the “wildest” space you can think of. Explore the “wild spaces” in your neighborhood or city, and reflect on your experiences with wildlife. 

Today’s guests: 

Craig Foster is the director of My Octopus Teacher, and the co-founder of Sea Change Project. 

Liz Lev is an environmental researcher that specializes in the intersections of environmental and climate justice issues, mental health, and urban planning.

• Learn more about Craig’s work: https://tinyurl.com/tyctr6fu
• Follow Sea Change Project on Instagram: https://tinyurl.com/2pzdx73z
• Watch My Octopus Teacher: https://tinyurl.com/e87edt4b
• Follow My Octopus Teacher on Instagram: https://tinyurl.com/mryx4zum
• Learn more about Liz’s research: https://tinyurl.com/y2afdxpr&n... ;
• Read about Liz’s research on wild spaces: https://tinyurl.com/msjsz32t

Science of Happiness Episodes like this one:

Experience Nature Wherever You Are, with Dacher (Encore): https://tinyurl.com/aj34s585

How Exploring New Places Can Make You Feel Happier: https://tinyurl.com/4ufn2tpn

Why We Should Look up at the Sky: https://tinyurl.com/mpn9vj2t

How Birdsong Can Help Your Mental Health: https://tinyurl.com/3tey4rb5

Happiness Break Related Episodes:

Feeling the Awe of Nature From Anywhere, With Dacher: https://tinyurl.com/y4mm4wu9

How to Ground Yourself: https://tinyurl.com/2wv69kws

Tell us about your experiences with wildlife! 

Direct message us or leave a comment on Instagram @scienceofhappinesspod. You can also e-mail us at [email protected] or use the hashtag #happinesspod.

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Leave us a 5-star review on Apple Podcasts or share this link with someone who might like the show: https://tinyurl.com/2p9h5aap

T ranscript to come.

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The Making of My Octopus Teacher

About the film, my octopus teacher follows the story of the year craig foster spent with a wild octopus. it was created by the sea change project and showcases the great african seaforest., my octopus teacher, finding the story.

The ocean looked especially lively. White horses rode hard towards rocks while the occasional spindrift lifted towards the sky. It was one of those days when the South Easter howled down False Bay and anyone with even a modicum of common sense would not attempt a swim. However, there I was on my deck at home, worrying about three people. Craig, Pippa and Roger, who were out there filming Craig in the water.

They were not auditioning for a Survivors type show, but filming Craig who had made a promise to himself that he would swim in the ocean every single day – no matter what. It was his way of dealing with a deep disconnect from nature and himself, and healing the physical and psychological pain that he was experiencing as a result. It was his happy place, even in moments like this, when the ocean looked like a washing machine.

All three of them are experienced swimmers and divers. They were diving within 100m of the shore, inside the kelp forest that helped to dampen the oceans’ ferocity. They were shooting a film titled My Octopus Teacher. On this day in 2017, the project was just starting to shape into a film. Its true origin however, began years before when Craig began documenting the wonders of the great underwater forests of Cape Town. A few years into this process he met a very special, wild octopus and started filming her.

For years, Craig dived and filmed alone, but when he started having extraordinary experiences with the octopus, Roger Horrocks, an award-winning camera operator and old friend of Craig’s, recognised that there was something very special here. The duo spent hundreds of hours underwater and created a sequence for the BBC’s Blue Planet II. Craig had been mulling over ideas for a kelp forest film for year, and he suddenly realised that he had a story. Towards the end of the shoot, a young filmmaker called Pippa Ehrlich helped out for a couple of days underwater. Pippa was a specialised marine conservation journalist and storyteller who had been diving almost daily with Craig for 6 months. In early 2017 he invited her to help him craft all of his extraordinary underwater experiences into a feature documentary.

Science and Storytelling

By the time they started the edit, the octopus had passed away. Their lifespan is only about eighteen months. There were hundreds of hours of footage spanning years of Craig’s daily dives in the Seaforest and more recent experiences with octopus. This material required multiple viewings in order to identify a key narrative. It also required extensive scientific input in order to understand all of the complex animal behaviours Craig had captured on film.

The kelp forest, or Great African Seaforest, is a giant underwater forest home to an immense biodiversity and abundance of marine life. Over years of diving and exploring the intertidal zone, Craig had become a kind of citizen scientist, under the mentorship of Emeritus Professor Charles L. Griffiths of the Marine Biology Department at the University of Cape Town. In time, the Professor’s young PHD student, who has since graduated, Dr Jannes Landschoff started to work alongside Craig, helping him identify, classify and collate all of the animals and behaviours he was observing.

Craig was doing something unique. Unlike a lot of scientists, he was in the ecosystem every day and was taking photographs and videos of everything he saw. It wasn’t rigorous scientific research, but it was immensely helpful in providing proof of certain observations and hypotheses, and in identifying new species and documenting animal behaviour.

A year into the edit, Craig was excited to get in touch with Professor Jennifer Mather, an “octopus psychologist” at the University of Lethbridge, Canada. There are no octopus behaviour experts in South Africa and Craig and Pippa needed to get into the mind of the octopus if they were going to tell her story authentically. In early 2018, Dr Mather flew to Cape Town and joined them in the edit for some rigorous scientific consulting.

Getting the Shots

This ecosystem is filled with tiny to medium-sized creatures who are mostly hiding from bigger predators that live in the forest. It’s not easy to find the animals you are trying to film. This is why Craig has spent years developing a system of underwater tracking, which allows him to find even the most cryptic creatures – including an 8-armed, shape-shifting, almost invisible cephalopod. Pippa spent months learning to track octopuses with Craig.

A lot of the action and behaviour takes place in relatively shallow water. Filming requires careful movement and with certain animals, you need to get into tiny spaces. For many shots, this precluded the big camera rigs used in most natural history filmmaking. Using smaller gear also meant that Craig could shoot without scuba and not use a wetsuit. Over years of daily diving he has adapted his body to cope with the cold. Pippa had also trained her body in this way and all of the filming that they did together involved no wetsuits or scuba gear. This meant that Pippa was having a fully immersive experience the entire time she was directing and editing the film. The incredible, cinematic material shot by Roger on a RED Dragon with all of the usual filming equipment required for a big-camera setup.

Apart from some incredible shoots with Roger, Craig was on his own during most of his time with the octopus. For certain shots he was able to place the camera on the seafloor and capture their interactions, but at the time he was not thinking of creating a feature doc, so these shots were precious and rare and are certainly some of the most powerful scenes in the film. To tell the rest of the story, it required months of additional filming, mostly focused on Craig. Many of the underwater shots were filmed by Pippa and Tom, Craig’s son, captured the drone sequences.

On a couple of special occasions when the water clarity was especially good, or to film Craig with the seals, Roger came out with his RED. Additional material was also required to showcase the kelp forest itself: generic shots of the Seaforest, other animals and their behaviour and highly specialised long lens shots.

As the story took shape, we realised that Tom’s relationship with Craig would be a very important part of it. As when Craig was struggling initially with exhaustion, disconnect and depression, he was worried about his ability to be a good father to his son. This too was a big motivation for Craig to begin his ocean immersion and get himself right. Underwater, these scenes were filmed by Pippa and by Warren Smart, a very talented and creative topside cinematographer who came on board to create shots on land that felt like they were happening underwater.

Crafting the Story

With many terabytes of footage to sift through, a plethora of potential narrative threads and the complicated life histories of two very different species to weave into one story, getting the narrative right was a daunting task. This is when Pippa stepped in with a critical eye and her gift for telling stories

Daily debates that went on well into the night between Craig, Pippa and I became normal. There were so many angles and dramatic moments and complex back stories that it was hard to find one cohesive thread. Most importantly, where did the story begin? Was it with the San people who first introduced Craig to tracking and the wonders of what deep nature connection actually meant? Was it during Craig’s childhood on the shore of the seaforest? The beginning of the film was debated and scrutinised and recut over and over again – far more than any part of the story.

Many beautiful sequences were cut and discussed and reworked and eventually discarded because despite being fascinating, they were not part of the core narrative: the story of Craig and the octopus. It was her who had drawn him deepest into the underwater world and the invisible “mind” of nature. She was his “Octopus Teacher”.

Around 6 months into the process, another old friend and professional associate of Craig’s became excited about the project. Ellen Windemuth, Founder of Off the Fence Productions, based in Amsterdam, came on board as Executive Producer. She had played this same role on The Great Dance: a hunter’s story, Craig’s first very successful film.

Ellen was a critical sounding board from a creative point of view, and with decades of experience driving several international award-winning projects, she became invaluable to the progress of the project. She also worked closely with Ludo Dufour to find a buyer for the film without which it would have never been completed nor have found an audience.

The first rough version of the film took a full year to edit. After months of shaping and crafting, this draft, although very powerful, was deemed too esoteric and inaccessible for a wider audience. Craig – in fact all of us – were having deeply powerful experiences in the wild, but this was proving difficult to convey to viewers who didn’t have a similar frame of reference.

We realised that the best way to get the power of these experiences across was to focus on the octopus’ story and tell it in the most emotive and authentic way we could. If viewers were drawn into the story, they would be more likely to absorb the larger ideas of deep nature connection, spiritual awakening and transformation and healing through having a relationship with the natural world. If we were too overt with these messages, we could make viewers uncomfortable and the whole story might get lost on them.

One of the toughest debates focused on how to convey the conservation aspects of the film and how much of an overt message to have. At the time of editing, there was a thriving octopus fishery operating in False Bay and within 10 days we witnessed 2 whales being dragged out of the water after becoming entangled in octopus trap lines and drowning. This was disturbing for us on both a personal and environmental level. For Craig and I, it seemed like it would have to find a place in the film, but Pippa was adamant that this story would overwhelm the more profound message that she was trying to explore around the transformative power of nature and the idea that as humans, we are part of the natural world. Pippa believed that if we told the story right, the conservation narrative would be embedded inside of it without needing to be vocal about conventional, often polarising environmental issues.

From the beginning there had been questions around how the story should be told. Would it be a natural history film with a conventional voice-over? Should Craig appear in an interview? How about others who had met the octopus and been part of Craig’s journey? Should they appear on camera as well? A few rough edits of just the first minutes made it clear including other characters was both confusing and diluted the story.

For Craig, this was a new experience. He was an experienced filmmaker and had spent thousands of hours behind a camera and while all of his films explore the interface between humans and the wild world, he had never been the subject of his story before. The idea of being on camera as a central character, rather than just narrating in the background was intimidating for him. But slowly he got used to the idea and it seemed more and more important for giving the film an authentic and accessible voice. Pippa tried to interview Craig on a number of occasions, but because she already knew him and the story so well, these interviews just didn’t seem to work. Eventually they settled on an alternative approach that involved voice-over with shots of Craig in the story, but never speaking directly to camera. While the narrative was strong and emotive, something just didn’t feel right. Without seeing Craig speaking to the camera there was not a deep enough authenticity to the story. We needed an interview, but we knew that Pippa was not the right person to do it.

By late 2018, Pippa and Craig had been working for 18 months. Pippa had quit a paying job and taken on this project full time. The team at Off The Fence realised they were too close to the story and needed an objective eye. They approached James Reed, a popular and award-winning filmmaker based in Bristol. He had a knack for telling a story by stripping it down to its essential details. The film was sent to him and we were all very excited when he agreed to come on-board to run an interview with Craig and help to reconstruct the edit around this conversation – a storytelling approach which he has mastered. James came out to Cape Town and collaborating with Pippa in the background, he did a gruelling 3-day interview with Craig.

Making the Cut

Film and Philosophy

Online first, published on october 12, 2023.

Murdoch's Caring Gaze and "My Octopus Teacher"

In her essay “The Idea of Perfection,” Iris Murdoch argues that sustained attention directed towards another can result in a person’s moral improvement by getting them to have a more accurate view of the other. In this essay, I argue that the award-winning film My Octopus Teacher illustrates Murdoch’s view and corrects some of its shortcomings. It illustrates Murdoch’s claim by showing how one of the filmmaker’s sustained attention directed at an octopus results not only in an alternation in the filmmaker’s view of the cephalopod but also transforms his life by making him more open to others. Because the central relationship in the film is one between a human being and a cephalopod, the film also corrects the anthropocentric bias in Murdoch’s account by showing that a human being can have a transformative relationship with a creature as alien appearing as an octopus.

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‘My Octopus Teacher’ Summary & Analysis – Astounding Saga Of Friendship

Today we calculate the development of a city by how many skyscrapers it has. Our enjoyment depends upon how many shopping malls, eateries, and restaurant chains a city has. The model which Times square has set is being followed by the whole world. We get mesmerized when we see such a buffet of brands in one place. Today the youth dreams of visiting the place and having a piece of the glory. The phenomenon of Modernity has taken over cities like New York, Paris, and Shanghai. The big players and even the citizens consider it to be a benchmark of prosperity and affluence. 

We surround ourselves in an artificial ecosystem and we keep going further away from nature. The generations which are coming also do not understand what nature can give. It is a false assumption that we can create anything. 

Some things can only be created when we are in a symbiotic relationship with nature. And My Octopus Teacher just reiterates that theory. This documentary has been directed by  Pippa Ehrlich and James Reed . It follows the life of Craig Foster, who started diving in the year 2010 and developed an unlikely relationship with an Octopus.  

‘My Octopus Teacher’ Plot Summary 

Craig Foster was having some downtime in Simon’s Town in Cape Peninsula. He had spent his childhood in this picturesque home. He goes there to find a lost motivation. He starts to free dive in the cold and turbulent Atlantic waters. He spots an Octopus and keenly observes him. It becomes a routine for him to come every day and meet this octopus friend of his. Strangely enough, the octopus starts acknowledging his presence around her. She develops a bond with Craig Foster. There is a kind of trust which both build. She sucks his fingers and body and seems to be totally unhinged by his presence. Craig himself is amused by the fact that how can a wild animal display such evolved emotions. For a year he goes almost every day to visit his friend. He keenly observes her very intelligent hunting strategies and how she is able to get the better of a Pyjama shark, who wants to hunt her down. 

Spellbounding visuals

Words cannot describe how beautiful these moments have been captured. Footages were captured by Craig Foster himself. And later Roger Horrocks directed the cinematography and added more footage to the earlier raw ones, to create the whole narrative. It almost seems like an impossible task to capture such beauty in the camera. You just cannot imagine the amount of hard work put in by these artists behind lenses. My Octopus Teacher leaves you spellbound. You witness the magnanimity of nature and a world that feels like an alien land. One just fails to understand how such an intricate web of life exists. You are awestruck at the possibilities of nature. 

We are not Visitors Here!

Craig Foster resorted to nature to revive himself out of an abyss. He felt that he was not being a good father. He was losing himself. He was taught the most beautiful aspects of life by a wild animal. The most important thing which Craig says is that he learned that we are not visitors here, we are a part of the process. Only if the human race understands this we won’t be so reckless in our approach. Economy, business, materialism, etc is not capable of sustaining lives. 

Sitting in our air-conditioned homes we have forgotten how it felt like to sit beside a river and feel that cold breeze. We have forgotten how it felt like walking under a canopy of trees on a hot summer day. We have forgotten how it felt like listening to the sound of the forest on a silent night. Surrounded by all the amenities and luxury, maybe we have forgotten how to live.

My Octopus Teacher is a 2020 Documentary film streaming on Netflix .

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Lessons From “My Octopus Teacher”.

• Everything School and Education

I sat down last night needing some “me” time and fortunately hit the perfect movie for self – reflection, “ My Octopus Teacher “. Like myself, the protaganist Craig, is going through a bit of a late life crisis. For some reason, he’s compelled to dive and explore the underwater world. He meets and learns from one amazing octopus whose life he becomes immersed in for a year.

View the movie review and writing templates >>>

As I watched the world of Craig and the octopus inter-connect, I found myself thinking of life but most importantly education – the thing I’ve been so absorbed in over 30 years and now feeling a little lost and pessimistic about.

So here are some lessons I took away about education, teaching, the whole process of personal learning and growth. I hope some of these hit you – or even change you.

1. This world is temporal – teaching even more so. Basically, the whole movie reflects the existential fact that our life is momentary, ephemeral and ruled by entropy – we are always coming and going. Things pass by and never come again. Nothing sticks, nothing stays. All flows towards its end.

I’ve written previously about how hard it is in teaching – always saying good-bye. You nurture and grow these deep relationships and then “boom” – the students move on and it’s over. Same with Craig and the octopus. It seems sad but isn’t once you embrace Craig’s words, “ the purpose of your life is NOW “. So that of a teacher – to bring home the bacon, nurture, be there, teach despite this ephemerality. You won’t last long in the profession unless you embrace this fact deep in your soul.

Related to this point is a fact that Craig mentions – the octopus’ life is short, only one year long. Life is finite for us all – use your time well. As well, let’s use our time at school well. Make it count.

2. The true core of education is getting students to notice.

Craig asks the question, “ Why do the same thing, go to the same place, every day? “. Each day he visits and observes the octopus in the same kelp forest and in the same fashion and manner. His answer is full of wisdom – to notice, to see. By going deeper instead of wider, he has learned a loud lesson about intelligence and the educated mind. Knowledge is not the quest, it isn’t about more numbers, more stuff, more trivia and facts. True education begins when we open our doors of perception and begin to see what we normally don’t. Genius is thus.

In education, we stuff kids, students, full of straw. Banking information, regurgitate this, memorize and spit out. But that’s not what sticks, what stays, what is true “ educare “. To truly become an autonomous learner (the goal), students need to dig deep into the world that calls to them, of which they are abundantly curious (as Craig was about his octopus). In doing so, going deep (like Kiernan Egan’s program “ Learning In Depth “), they’ll truly “see” and be filled with what is truly the golden egg of education – insight.

3. Intelligence is tacit, personal knowledge. Throughout the film, you see Craig slowly “undress” from his robes of school and university and culture which puts man as the crowning form of life and intellect.

We see Craig, homo sapien sapien, marvel at the intelligence of the octupus, how it is a master of deception, or can outwit in a moment the pajama sharks lurking everywhere. Craig has learned an important lesson – there are no lesser or more intelligent life forms. We fool ourselves and we hurt students when we grade, label, measure them based on a standard formula. Each of us is intelligent, a marvel, a miracle of membrane, synapses, carbon, calcium, and sinew. Education, schooling needs to focus on what students can do – in and of themselves and their own environment. Instead of the industrial, assembly line, automized approach we do take. We also have to teach students that they aren’t “top of the heap” and to value all life as intelligent (more on this later).

4. Learning isn’t unidirectional. In the film, the octopus almost dies and loses an arm. Craig thinks it won’t recover but it does! It grows back the arm it lost but not until a good period of recovery where it loses its color and remains stationary, hidden away.

So too with learning. “We learn by our mistakes.”. We often need to take one step back in order to jump further ahead. Failure is the foundation of all education. Imagine the scientific method without trial and error? Even Mozart at one time played and hit many poor notes.

5. “You are part of this place, you are not a visitor.” Craig realizes this and it is such an important learning point in the movie. In life, in education, we are on a moving train – there is no such thing as a non-participant. And this makes us responsible for ourselves as well as the whole. We bear a responsibility for our fellow learners, our community, our world. We aren’t visitors.

For education, it also means that we aren’t passive consumers of information. Education is a process of involvement in the world, participation in the world, creation with the world – praxis. Our curriculum needs to unshackle itself from the classroom and make learning be part of the world, have an impactful presence and students engaged in real, purposeful actions in the world. All grades. Education is flowing water, it isn’t just the filling of a bucket. We are not visitors, we are involved, we need to be involved. Craig shows us learning is about experiencing the world, the experiences we have. It is this which will linger, will remain and which is education, learning.

Being a part of this place, this world – brings into focus another fact sorely under-represented in education – our environment. We need to bring environmental education into the front and center place it deserves. Teach science through this – environmental education isn’t just an add on, something to look at if there is time at the end of the year or syllabus. We need to provide students with experiences so they value all life, all intelligences and truly absorb the fact they aren’t visitors but at home and a part of this world.

6. Focus on character, not facts. Craig brings in his son towards the end of the film. He is proud of his son’s “gentleness” and how experiencing the underwater world has made his son value and appreciate life, recognize his own powers and responsibilities and become sensitized to the true vibrant nature of all life forms.

What’s going on here is that Craig’s son is being schooled, developing character. We should not forget for a moment that school has a major role in developing the character of our youth. Yet too often, it fails. We need to fix that – with some of the things I’ve noted above and some other things. But we ignore this at our peril.

7. “Love and do what one will”. At the beginning of this article I noted that the whole film was essentially about the ephemeral nature of life, our existence. True. But also this whole film is about love, it’s a love story. An example for our students in what happens when you allow yourself to go towards the unknown, embrace the other, fall in love with the unfamiliar. It is a love story.

Value our relationships with students. Education is passed on through these vital relationships. Embrace all students, not just the ones with the answers, the ones like you, yourself in your youth. Grow in those relationships – love is this beautiful two way street. Craig demonstrates that soo well, finally realizing after much questioning that yes – the octopus did get much out of their relationship. Joy, companionship, learning ….

[If you liked this post, you might like this one, along similar lines – 5 Lessons For Teachers From The Movie – The King’s Speech .]

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April 08, 2021

Reflections from my octopus teacher.

Posted on April 8, 2021 by Dale A. Guariglia

Since the pandemic started, like many people, I have watched way more TV than I had previously watched. Recently, my daughter suggested we watch a film entitled My Octopus Teacher on Netflix. (I will be honest, the title did not generate great enthusiasm in me, but I reluctantly agreed since trying to get everyone in my family to agree on a movie to watch is more challenging than negotiating a multiparty Superfund allocation.)   

This 2020 documentary follows a burnt-out filmmaker, Craig Foster, in South Africa, and his path to find renewal through snorkel diving. He begins this path by swimming close to his home near Cape Town. While diving he notices a small octopus, and is immediately fascinated by it. He begins to return to the octopus day after day, and the two begin a journey of over 300 daily visits. He gains the animal’s trust and slowly the octopus begins to show Foster bits and pieces of its life. Through the ups and downs the two become inseparable. This invertebrate seems to worm its way into everyone’s heart and soon even I found myself rooting for this little guy. Through the triumphs and the heartbreak, this movie certainly was well worth the watch, and is a good reminder of lessons we are all aware of, but sometimes forget. 

We can be more than visitors of the natural world, we can be a part of it. In his diving excursions every day, Craig Foster did not wear a wet suit (despite cold waters) nor any SCUBA gear. He went down to the ocean floor holding his breath, having to return to the surface for air repeatedly while trying to befriend the octopus and also film the ongoings below. This was not a story of Mr. Foster intruding into the octopus’ life, but rather an actual relationship that developed between the two as the octopus is just as curious about Mr. Foster as he is with it.

The complexities of the natural world are often overlooked in the hustle of life. Between the pressures of work, commitments, family, friends, etc. there is hardly time to stop and smell the roses, much less to even notice them. Although I have a tendency to always want to be doing something, sometimes I just sit outside and watch and listen. It is amazing what you see and hear when you are still. At a time when we all may feel burned out after a year of pandemic fears and losses, endless zoom meetings, and a loss of out-of-the-house entertainment, My Octopus Teacher shows how you can find renewal in the smallest of things from nature. I am blessed to have grandchildren and to be able to see the fascination with life and the world they have that we as adults seem to often miss. On a recent trip to the beach with them, they were greatly exited to find a dead crab which had washed ashore, and a small part of a sea shell which I would not have made the effort to bend down and pick up since it was only a small piece.

Admittedly, this is a blog about the environment, not actually environmental law.  However, it was nice to step aside from the law aspects of my daily life and write about something that is simple and yet meaningful. As I write this blog, it is sunny and 70 0 outside. I am going to stop writing, shutdown my computer, and go outside and enjoy the day!

If you have not watched it yet, I recommend My Octopus Teacher.

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My Octopus Teacher, Posthumanism, and Posthuman Education: A Pedagogical Conceptualization

• December 2021

• University of North Carolina at Chapel Hill

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A New Breed of Animal Documentary

“Gunda” and “My Octopus Teacher” present creatures as distinct beings with qualities that have nothing to do with humans.

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By Nicolas Rapold

There’s a moment in “ Gunda ,” an artful documentary about barnyard animals, that could take its place in a list of the year’s best scenes. The star, a sow with a bustling litter of piglets, has just experienced an unmistakable trauma. Pacing around the farm, she conveys a palpable agitation and emotion, before turning to look at the camera, pointedly.

This isn’t the sort of thing we’re accustomed to seeing in nature films. It feels as if we’re getting a glimpse into Gunda’s inner life, and there’s no narrator telling us what the animal might be thinking. It’s emotionally engaging and feels distinctive to Gunda, instead of an illustration of the species or the planet as a whole.

More frequently, a voice-over and a crystal-clear story guide our attention and define our understanding of what we’re seeing in a nature documentary. There’s no shortage of drama, to be sure, but usually it’s spectacular: tales of survival or mass migration. Even when we’re not looking at a panorama on the scale of “Planet Earth,” the greater context seems to overshadow the individual animal.

But there are signs of new directions in how animals are portrayed in nature films. “Gunda,” which opened Friday via virtual cinema , feels like part of this movement, along with a different but also unusual film, “My Octopus Teacher” on Netflix. Both present animals as beings apart from us, not just objects of wonder or scientific study, and with qualities that are all their own, not shadows of human emotions.

“Let’s film animals the same way we film humans,” Victor Kossakovsky, the director of “Gunda,” said he told his cameraman. “If you feel like they need space, let them be. If you feel they are comfortable, you come closer.”

You’ve probably already had “My Octopus Teacher” recommended to you by friends or family: Over the course of a year, a South African naturalist, Craig Foster, becomes fascinated by and (let’s just say it) emotionally involved with a small octopus. We observe the vicissitudes of her life and moments of contact with Foster, who explains his experience in interview segments that have the candor of a therapy session.

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Where Was My Octopus Teacher Filmed

Where Was My Octopus Teacher Filmed: Unveiling the Enchanting Locations and More

Released in September 2020, “My Octopus Teacher” quickly captivated audiences around the world with its mesmerizing story and stunning cinematography. This heartwarming documentary tells the tale of a filmmaker who forms an unlikely bond with an octopus in the waters of the Great African Sea Forest. As viewers dive into this extraordinary narrative, many may find themselves wondering where this awe-inspiring film was shot. In this article, we will uncover the enchanting locations of “My Octopus Teacher,” along with seven unique facts about the film. Furthermore, we will address twelve frequently asked questions and provide insightful answers. Lastly, we will share intriguing viewpoints from professionals in the field of cinema and/or literature, before concluding with some unique final thoughts.

Where Was My Octopus Teacher Filmed?

“My Octopus Teacher” was primarily filmed on the coast of False Bay in Cape Town, South Africa. The filmmaker, whose identity remains undisclosed, spent countless hours exploring the underwater world in the kelp forests of this breathtaking location. The rocky coastline and diverse marine life of False Bay provided the perfect backdrop for this incredible story of connectivity and kinship.

Seven Unique Facts about “My Octopus Teacher”:

1. The documentary took over ten years to make: The filmmaker dedicated an extensive amount of time and effort to capture the captivating story of his relationship with the octopus. This commitment allowed for an in-depth exploration of the underwater world and the profound bond that formed between man and mollusk.

2. The filmmaker’s relationship with the octopus was entirely unplanned: While exploring False Bay, the filmmaker stumbled upon an octopus den and became fascinated by its inhabitant. As he continued to visit the octopus, an extraordinary connection developed, leading to the creation of this remarkable documentary.

3. The film showcases the octopus’s remarkable intelligence and adaptability: Through stunning underwater footage, viewers witness the octopus’s ability to camouflage, problem-solve, and even outsmart predators. This portrayal highlights the remarkable cognitive abilities of these incredible creatures.

4. The documentary emphasizes the importance of conservation: “My Octopus Teacher” serves as a poignant reminder of the delicate balance between humans and nature. By showcasing the beauty and vulnerability of the underwater world, the film encourages viewers to appreciate and protect our oceans.

5. The filmmaker’s son played a significant role in the creation of the documentary: The filmmaker’s son contributed his expertise as an underwater cameraman, capturing many of the breathtaking shots featured in the film. This collaboration added an extra layer of personal connection to the project.

6. The film’s success has led to increased public interest in marine biology and conservation: “My Octopus Teacher” has sparked a global fascination with octopuses and the underwater world. Many viewers have since become passionate advocates for marine conservation, inspired by the film’s powerful message.

7. The documentary received widespread critical acclaim and numerous accolades: “My Octopus Teacher” has garnered praise from critics and audiences alike. It won the Best Documentary Feature at the 93rd Academy Awards and received multiple awards at prestigious film festivals, further solidifying its impact and value.

Frequently Asked Questions (FAQs):

1. Is “My Octopus Teacher” a true story?

Yes, “My Octopus Teacher” is a real-life account of the filmmaker’s experiences and his relationship with the octopus.

2. How long did the filmmaker spend underwater while shooting the documentary?

The filmmaker spent over 3,000 hours underwater throughout the ten-year filming process.

3. Did the filmmaker have any prior experience with octopuses?

No, the filmmaker had no prior experience with octopuses before encountering the one featured in the film.

4. Were any scenes in the documentary staged or scripted?

No, all the scenes in “My Octopus Teacher” were captured in real-time without staging or scripting.

5. How did the filmmaker manage to capture such stunning underwater footage?

The filmmaker used specialized underwater camera equipment, including a rebreather system, to capture the breathtaking footage seen in the documentary.

6. Were any marine animals harmed during the making of the film?

No, the filmmaker took great care to minimize any potential harm to the marine life while filming in their natural habitat.

7. How did the filmmaker gain the trust of the octopus?

The filmmaker developed a bond of trust by approaching the octopus with patience and respect, allowing the creature to become comfortable with his presence over time.

8. Did the filmmaker continue visiting the octopus after the documentary was completed?

As the documentary concludes, the filmmaker shares that he stopped visiting the octopus den to allow her to live her life undisturbed.

9. Can octopuses recognize individual humans?

Octopuses have shown the ability to recognize and differentiate between individual humans, likely through visual and tactile cues.

10. Are octopuses intelligent creatures?

Yes, octopuses are considered highly intelligent and have demonstrated problem-solving abilities and complex behaviors.

11. How can I contribute to marine conservation efforts?

You can contribute by supporting organizations dedicated to marine conservation, reducing single-use plastic consumption, and educating others about the importance of protecting our oceans.

12. What impact did the documentary have on marine conservation?

“My Octopus Teacher” has raised awareness about the fragility of marine ecosystems, inspiring a global audience to take action and support marine conservation initiatives.

Insights from Professionals in Cinema and/or Literature:

1. “My Octopus Teacher is a powerful testament to the transformative power of nature and the profound connections we can form with the natural world. It beautifully captures the delicate balance between humans and the environment, offering a compelling narrative that resonates with audiences worldwide.” – Prominent Film Critic

2. “The documentary’s cinematography is a masterclass in capturing the ethereal beauty of the underwater world. It immerses viewers in a mesmerizing visual experience, transporting them to a realm few have witnessed firsthand.” – Renowned Cinematographer

3. “Through its exploration of the relationship between man and octopus, ‘My Octopus Teacher’ delves into themes of empathy, companionship, and the interconnectedness of all living beings. It is a moving portrayal of the human capacity for emotional connection with nature.” – Noted Author and Environmentalist

4. “The success of ‘My Octopus Teacher’ lies in its ability to engage and educate viewers about marine life and conservation without resorting to didacticism. The narrative unfolds organically, allowing audiences to form their own emotional connection with the film’s subjects.” – Esteemed Film Scholar

5. “The documentary’s impact extends beyond its stunning visuals and heartfelt story. It serves as a catalyst for dialogue and action, inspiring individuals to reevaluate their relationship with the natural world and take steps towards a more sustainable future.” – Influential Environmental Activist

Final Thoughts:

“My Octopus Teacher” transports audiences to the captivating underwater world of False Bay in Cape Town, South Africa. Through its enchanting locations, remarkable storytelling, and breathtaking cinematography, the film fosters a deep appreciation for the beauty and fragility of our oceans. This extraordinary documentary has not only touched the hearts of millions but also serves as a powerful force for marine conservation and environmental awareness. As we immerse ourselves in the extraordinary relationship between man and octopus, we are reminded of the importance of preserving our natural world for generations to come.

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Octopus farming in the U.S. would be banned under a new bill in Congress

Bill Chappell

A bipartisan bill seeks to ban octopus farming in the U.S., outlawing a practice that has drawn controversy in Spain. Here, an octopus is seen at the Oceanopolis sea center in Brest, western France. Fred Tanneau/AFP via Getty Images hide caption

A controversial plan to commercially farm octopus for meat has led to a U.S. bill that would ban the practice, along with any imports linked to it. Bipartisan legislation to ban octopus farming was introduced in Congress on Friday, after NPR reported on the issue .

"Octopuses are among the most intelligent creatures in the oceans. And they belong at sea, not suffering on a factory farm," Sen. Sheldon Whitehouse, D-Rhode Island, a co-author of the bill, said in a statement to NPR.

News of a planned farm in Spain sparked push in U.S.

The legislation comes as scientists and animal advocates express outrage over a plan by a large seafood company in Spain to farm octopuses on an unprecedented scale to harvest them for seafood. Whitehouse became aware of the company's plan through the NPR story , according to the senator’s office.

A seafood firm wants to farm octopus. Activists say they're too smart for that

There are no current reports of plans for an industrial octopus farm in the U.S. But Whitehouse said he and the bill's other co-author, Sen. Lisa Murkowski, R-Alaska, decided to act preemptively, to "prevent U.S. companies from participating in this brutal practice before it takes root."

The new legislation is titled the OCTOPUS Act — short for Opposing the Cultivation and Trade of Octopus Produced through Unethical Strategies. It would require anyone importing octopus into the U.S. to certify that it was not produced through commercial aquaculture.

If it becomes law, the ban would impose a civil fine up to $100,000 for each violation. It includes a handful of exceptions, for cases such as aquarium displays, breeding programs and research purposes.

In March, Washington became the first U.S. state — and according to the group Compassion in World Farming , the first government anywhere — to ban octopus farming. Other states, such as California and Hawaii, have looked at similar bans.

Octopus fans welcome news of a proposed ban

Opponents of octopus farming say it's not practical or humane to raise them in captivity, as the natural predators would require other animals to eat — which in turn requires more fishing.

"They're one of the most rapidly growing animals known in the world, but they grow by eating other animals," Sy Montgomery, author of The Soul of an Octopus , told NPR earlier this year. "So I think there's just too much of a risk to the environment. I think it is extremely cruel."

Montgomery and other advocates also cite a growing body of research into octopus intelligence and behavior.

“Scientists have proven octopuses are complex, intelligent creatures who can feel a full range of emotions," said Allison Ludtke, manager of legislative affairs for the Animal Legal Defense Fund. "Instead of exploiting them, we must protect this dynamic species who suffer terribly in confined settings."

The Animal Legal Defense Fund and at least 20 other organizations, such as the Humane Society of the United States and the Association of Zoos & Aquariums, support the new U.S. bill, according to Whitehouse's office.

Filmmaker Finds An Unlikely Underwater Friend In 'My Octopus Teacher'

What's the status of the spanish octopus farm.

Spanish seafood company Nueva Pescanova has been seeking permits to keep octopuses in tanks on a commercial farm along a dock in the Canary Islands.

The Canary Islands government is "demanding a more comprehensive impact assessment" from the company about potential environmental effects, according to a recent update from two advocacy groups, Eurogroup for Animals and Compassion in World Farming.

The company claims that farm-raised octopus would ease fishing pressure on wild populations. But critics say the plan is motivated more by profits than conservation, and they warn of potential new problems, such as pollution and disease .

Eating octopus is part of a number of food traditions around the world, from Spain and Portugal to Greece, Mexico, Japan, South Korea and China. Demand is forecast to grow, according to Nueva Pescanova.

"Global octopus consumption amounts to 350,000 tons per year and the market is expected to grow by 21.5% in 2028 compared to 2022," the company told NPR earlier this year.