For this third editorial focus, we delve into the story behind ‘Elsewhere’, the self-documented short by director-skier Loïc Isliker and Max Kroneck with the participation of Noémie Equy and Edgar Cheylus: a backcountry bivouac in the French Alps that doubles as a field study in endurance, intuition, sharing and image-making.

Presented alongside the film program and installations that have animated the Milan stop, ‘Elsewhere’ is less a tally of summit ticks than a live conversation—between slow, hard-earned elevation and the immediacy of handheld footage; between the line laid on glacial snow and the prism-tinted dream it becomes; between the solitude of a tent at 2.800 vertical meters and the thrum of the valley below. It favors moments caught on the move, collapsing the space between athlete and author until authenticity becomes the film’s organizing principle. It’s here, in this unvarnished dialogue of effort and reverie, that the Winter Tour finds another intimate frequency.

We spoke with Loïc and Noémie about winter-camp skills and creative risk, about skiing as a language rather than a result, and about how storytelling—supported by Arc’teryx’s openness to experimentation—can turn a mountain mission into a shared invitation.

We’re going to start with “Elsewhere,” a short documentary that follows you and two other freeskiers in the French Alps—self-documented and self-organized. Could you break down how the project started, the initial idea and how everything evolved?

Loïc Isliker: “It started with Edgar, one of the other athletes on the trip. At the beginning of the season we both said we wanted more experience with winter camping. It really began there. I then spoke with Max about filming the project in our own way and vision. We started organizing, and by the end of the season—in May—we had filmed everything. The origin was simple: let’s go on a camping trip and learn as many skills as possible to become pro at winter camping. I’d only done maybe one such trip before.”

Was it your first time? What was that first winter-camping experience like?

Noémie Equy: “Yes and It’s something I’d wanted to do my whole life, so when they invited me I immediately agreed. Then I realized how much elevation we’d have to gain and thought, Okay… I’m going, but this will be serious. In the end I really enjoyed the camping. I expected the cold and logistics to be hard—and of course it was only two days—but I found it surprisingly manageable. I loved it.”

And the emotions you brought home from the adventure—did it change you in some way?

Loïc Isliker: “Completely changed me, Maybe not. But that’s also part of the film’s message. For a few days up there you feel as if you’re alone in the world—just your group and your tent. Then you return to the valley and the contrast is total. That magical, free feeling you have up high—you try to bring some of it back into daily life. I get a lot of energy from it.

There’s also some suffering involved: it was May, already hot in the valley. We packed everything in big backpacks and climbed almost 1,800 vertical meters. Coming back down, suddenly you’re in a car, you’ll sleep in your own bed—there’s relief too: We made it, and it was an amazing experience.”

Noémie Equy: “It’s strange: of course the experience gives you something, but you want to bring more of it back. It’s like a suspended moment—when it’s over, it’s over. You still carry a part of it, but you also think, I want to do it again. I think that’s why we keep hiking and skiing—we love that feeling and can’t bottle it forever. I also like that it remains intangible; you can’t quite touch it.”

How did the name ‘Elsewhere’ come about? Why choose it, and what does it signify?

Loïc Isliker: “It quickly felt like we were elsewhere. Up high… and then suddenly you’re back in the warm valley with cars and people. The contrast gives everything a surreal, dreamlike quality. So we said, Where have we been? We’ve been… elsewhere. Sure, it’s a specific place on a glacier. But the exact spot didn’t matter. What mattered was that we were somewhere else—and it was beautiful.”

If you had to recall specific images—moments that define Elsewhere in your mind—what would they be?

Loïc Isliker: “In the film you’ll see we brought an object with us: a prism. It became our metaphor for that dreamlike time up there. We used it to create effects—rainbow hues, an abstract, slightly unreal world. That prism was special to me. We made many images with it—you’ll notice it in the movie. It’s a very aesthetic piece set against nature.”

Noémie Equy: “We struggled with clouds while filming, but they also made the dreamy feeling. Riding through those clouds was special. There’s a drone shot of one of my lines where I ride right along the cloudbank—it feels like another planet. A very good moment, and beautiful images.”

Climbing, skiing, and the visual side—filming, photographing. How did those parallel worlds come together on this trip?

Loïc Isliker: “Max and I filmed everything. Our style was to shoot on the move—we rarely stage or ask for repeats. We prefer the moment as it is. I wanted everything to feel real and human, so I tried to capture Noémie while she was simply doing her thing, without interrupting.”

Noémie Equy: “Compared with a classic shoot, this wasn’t ‘a shoot’—it was a mission. You live it. You’re not thinking, Do it again. You’re in the moment, and that’s it. It’s more enjoyable, and I think that’s what brings authenticity and humanity to the film—because we were truly living it.”

What role does sport itself play in a production like this? There’s a shifting paradigm—sport becoming storytelling. Experiencing that transition first-hand as athletes, how does skiing become a story?

Noémie Equy: “I love it. Beyond being athletes, it’s our job—hopefully—to share passion and excitement with others. If viewers feel what we felt, that’s beautiful. Skiing can seem a bit selfish—you’re ultimately alone in the moment, even if you’re a team in the mountains. Storytelling opens it to more people. You can inspire others to try their own adventures.

What I love in sport is the community. Combining sport and art, sport and social dimensions—that matters. It’s more than just performance. I feel that pure ‘sport’ is no longer enough; we always want other things. This change brings creativity, and I really enjoy that.”

Do you think this creative lens has changed your perspective on the sport—and even your performance?

Loïc Isliker: “It depends. Sometimes I have clear objectives—specific lines I want to ski. In those moments I think only about skiing that line; that’s enough. Other times I’m already imagining how to capture it, and from which angle to tell the story. It’s a balance. Sometimes you focus on skiing, sometimes the place and people make it natural to film and craft a narrative.”

Noémie Equy: “You mentioned ‘performance.’ Often we think performance equals competition or skiing hard. Through films, photos, and art, that word gets redefined—and that’s exciting. It points us toward where we need to go: performance that can also be artistic, social, connected. Linked to that, being with a brand like Arc’teryx that supports this new vision—where it’s not purely about competition or a perfect trick but about storytelling—makes a real difference.”

How is it to be supported by Arc’teryx—creatively and athletically—so you can make projects like this?

Loïc Isliker: “With Arc’teryx, it’s special. They’re open to our ideas and vision—nothing feels too crazy. That openness inspires me to think differently and capture mountain adventures in new ways. Having the chance to bring these stories forward, uniquely, keeps me motivated to stay fresh each season and explore the mountains in my own way.”

Noémie Equy: “It’s especially meaningful because I still compete in freeride. I feel lucky with Arc’teryx: they don’t force one path. Competing is great, but you can also choose other routes. That freedom is essential—and it fuels creativity. When everything is possible, you can choose your way in sport. Creativity and freedom are the key—something truly special we’re lucky to have.”

What about presenting these experiences on a European tour—like here in Milan—and reaching wider audiences as the Arc’teryx Winter Tour moves through different cities?

Loïc Isliker: “It’s very special. I don’t take any of it for granted. This year, the tour includes an exhibition format, and seeing our work in this kind of space is powerful. I’m grateful. I can’t wait for people to see the film. I spent a lot of time making this, and feeling how audiences react is unique. I’m excited for the premiere.”

Noémie Equy: “I feel lucky—honestly, it’s insane. I never dreamed of seeing a film I’m part of on a big screen. If 10-year-old Noémie could see this, she’d be like ‘I don’t believe it’. I feel so happy to share it. I hope people enjoy it—and maybe it pushes them to go into the mountains, to enjoy nature and the freedom we have.”