Season Reports
& videos
In 2010, the film Tapâm was released, featuring European anglers Daniel Göz and Jan Bach Kristensen, who set out into the unknown with fly rods, float tubes, and a bold idea. The film took the fly-fishing world by storm. For years, anglers speculated about where this spectacular fishery could possibly be—though the title offered a subtle clue. Tapâm is the Miskito word for tarpon, and the Miskito Coast stretches along the remote eastern shores of Nicaragua and Honduras.
After selling thousands of DVDs around the world, the film found a second life when it was released on YouTube in 2020—reigniting interest all over again.
During our first season, we brought filmmaker Peter Andreas Christensen to capture a short promotional piece. One morning, we decided not to fish at all, choosing instead to focus entirely on filming tarpon hunting. The gamble paid off.
When Early Morning Jungle Poon was released, it included an unforgettable moment 90 seconds in—a tarpon violently chasing a mullet. The clip blew minds, went viral, and before long, the next season was fully booked.
The year after, we invited Peter back to create a follow-up. We hooked plenty of fish and gave him complete creative freedom.
The result was A Day in Nicaragua—a beautiful, atmospheric film that many loved, though it never reached the viral status of its predecessor.
Fortunately, the momentum created by Early Morning Jungle Poon continued to fuel demand.
In 2017, we collaborated with Vaidas Uselis of Black Fly Eyes to produce Finding Tapam. We discovered incredible numbers of tarpon across all size classes in a large lagoon and spent several days exploring it.
One unforgettable moment came while casting to small rolling fish in five feet of water: a true river monster—estimated at 130–140 pounds—crushed the fly and erupted into a series of explosive jumps (2:22 in the film). After a 20-minute fight, the fly line snapped just as we tried to bring the fish to the surface. Extreme highs and crushing lows—classic Tapam.
In 2025, marking our return to Tapam, we produced our first in-house film with Max Bartholin, supported by guests and guides who generously contributed interviews during siesta hours.
Much of the footage was shot in hard light, which inspired a black-and-white direction—giving the film a timeless, high-contrast look that set it apart from anything we had done before.