What if the snow doesn’t fall this year? Splitboarders Levi Luggen and Gregor Betschon seek the answer to this question, taking us on an intimate journey—or rather, a cyclical quest for the perfect moment on the board and the joy of sharing it. It’s the art of splitboarding: the ascent, the descent, and the pursuit of settings that may at times become sublime snowy stages, and at others, paths to be imagined and explored.

We discover the essence of the film ‘Things We Never Told You’ through the words of Levi Luggen and Gregor Betschon, and the moments captured by the lens of Phil Bucher. 

‘Things We Never Told You.’ Could you tell us about the genesis and meaning of this production, starting with its title, inspired by Andreas Achermann’s special soundtrack (that you can listen here)?

Levi Luggen: “The soundtrack of the film — Things We Never Told You — was actually something we hadn’t heard before. It came from his imagination. But when we listened to it, it immediately felt like the right fit. Usually, in snowboard adventure films, you only see the highlights — blue skies, perfect powder, everything looking epic. But on this trip, we had to deal with a lot of the not-so-glamorous stuff too: bad snow, rain, tough conditions. And we really wanted to show that side of snowboarding as well. That’s why the track made so much sense — it just matched the mood perfectly.”

Gregor Betschon: “The only thing we discussed a few times was the contrast between the film being in our native language — German — and the title being in English. That might’ve caused a bit of confusion at first. But in the end, we felt that it actually created some curiosity. It makes people wonder what’s behind the title — and in a way, it really captures the essence of the film. It sums it up perfectly.”

Splitboarding. What is the essence of this discipline, and what was it like to experience and capture it throughout this project?

Gregor Betschon: “This is actually the fifth year Levi and I have been working together — and our very first project was also a splitboarding film. That’s really where our collaboration began. From the beginning, it was clear that if we wanted to make these kinds of films, we had to stay light and fast in the mountains. Big crews just slow everything down. And visually, we wanted the film to reflect what we were actually feeling out there — to keep it honest and raw. That’s why there are so many follow shots. You can only do that kind of filming if your shooting partner can ride really well. That part really shaped how we work, and how we move on the mountain. For me, splitboarding is a way to discover places I wouldn’t otherwise reach. Skiing in Switzerland can be crazy expensive, and you aren’t allowed to use snowmobiles — there are zones where you just can’t go. But if you’re on a splitboard, you can explore freely, far beyond the resorts. That’s the part I love: the freedom. No limits. Just being out there on our own, going wherever we want to go.”

Levi Luggen: “For me, splitboarding is one of the purest forms of snowboarding — because every single meter you ride down, you’ve had to earn on the way up. It’s a slow sport, for sure, but that slowness creates a different kind of connection to the mountain. Sometimes you spend hours just looking at your goal — a peak, a line — and you know you have to work to get there. But when you finally reach the top, it’s an incredible feeling. You’ve made it there on your own, by your own effort, and then you get this reward: the chance to ride down and really enjoy the snow, the mountain, the moment. That’s what I love about splitboarding. It gives you space — space to think, to reflect, to be present. It’s not just about performance; it’s about the whole experience.”

What if the snow doesn’t fall this time? The record temperatures highlighted all around the world are inevitably connected to the global issue of climate change, and they affect the mountains. As mountain athletes and storytellers, could you share your thoughts on this matter?

Gregor Betschon: “The tough part was that our first film was shot during a record-breaking snowfall. It was literally a dream winter. So after that experience, we thought, ‘Okay, that went pretty well!’ We took some key learnings and set out to make a second one, feeling like we knew what we were doing this time and ready to level up. We did more research — scouting better backdrops, more interesting lines — and we completely overlooked one crucial element: we needed snow. That hit hard. Suddenly we were in a season where it barely snowed at all. At first, it felt like a joke — we kept saying, ‘Maybe next week, maybe with a weather front from the west…’ but that dragged on for months. It wasn’t until March or April that there was finally enough snow to shoot something that matched the story we originally wanted to tell. That was a tough lesson. And since it had started as more of a tourism-driven project, we thought, ‘Alright, this year was just unlucky — next winter will be better.’ But it got worse. There were definitely moments when I wondered if we’d already had our last real season two years ago. Like, is this the new normal we’ll have to deal with going forward? And this year… well, it started off promising — but then it dried again. So yeah, it’s hard to give a clear position when it comes to the environmental side of all this. With ‘Things We Never Told You’ I didn’t want to point fingers or make a big statement about climate issues or solutions. It was more about showing things as they are — giving a raw impression of what it felt like, how it affected us, and how we tried to adapt just to keep doing the sport we love. That’s not to say the topic isn’t important — it is — but it’s also incredibly complex. And trying to change or address something on a global scale… it can feel overwhelming. I just wanted to be honest about our small, lived experience in the middle of it.”

Levi Luggen: “We don’t really talk about it directly in the film, but of course it’s something that’s always on our minds — not just when we’re snowboarding, but in everyday life too. We’re in Brig, for example, and we still have quite a few glaciers here, so for now there’s a sense of water security. But that won’t last forever — maybe another 50 years, if we’re lucky. And when winters come with little or no snow, that affects more than just the mountains or the sport. It becomes a real issue — no snow means no water. And without water, it’s not just about splitboarding anymore. It’s about life.”

What was it like to combine deeper storytelling with the usual adrenaline-fueled visuals of splitboarding? To go beyond just the action?

Levi Luggen: “As Gregor mentioned, that first year we had insane conditions. Everything just lined up, so we went for it without thinking too much about the post-production process. The focus was purely on chasing the best lines we could find. But with this new project, we approached it differently. We started thinking about the storytelling side much earlier, even while we were out in the field. That shift really shaped the way we filmed. So instead of always going for the most epic line, we sometimes chose the one with the better backdrop. Or we made space for scenes beyond just snowboarding — moments like hiking, staying in the hut, or simply being out there together. That allowed us to tell a deeper, more layered story. It was a kind of evolution. We took what we learned from the first film and brought it into this one — trying to build a stronger narrative already during the filming process itself.”

And how was it like to experience this evolution in your creative process? 

Gregor Betschon: “There were a lot of lessons learned along the way. Honestly, there were moments when we said to ourselves, ‘Maybe, after two years, there won’t even be a movie.’ For a long time, we just couldn’t figure out how to bring it all together or find a story that really worked. We had other ideas in the beginning. But in the end, reality didn’t match the plan, and we couldn’t follow through with those original visions. So we entered this long, slow re-editing process — moving things around, reshaping the material we had, trying to find a story that felt honest. At one point, I remember putting on headphones and listening back to all the audio recordings while walking. And that’s when I started to really hear what we were saying in the scenes — there were funny bits, moments with emotion, little jokes we could use to give the film more personality. That’s when things started to click. We began to rearrange the narrative, not to fit a typical dramatic arc, but to let it grow gradually, more organically. The story builds up slowly and ends on a high note, but it doesn’t follow the classic structure with multiple peaks and twists. For me, that felt like a bit of a risk. I worried it might come across as too simple, maybe even a little flat. But by adding in those subtle, more personal touches — the humor, the uncertainty — it felt like something people could really connect with. Sure, someone might start watching and think, ‘Wait, is it ever going to snow?’ Maybe they’ll even skip forward a bit. But if they stay with it, if they watch the whole thing, it lands. That’s when it hits. And that’s when I knew — this wasn’t just another snowboarding movie. It had its own rhythm, its own voice. And it was finally ready to be shared.”

Do you want to share some images or moments that struck you the most? 

Gregor Betschon: “There were so many challenges along the way, but this one moment really stands out. About halfway through the film, you see this incredible backdrop of Lake Geneva, with Mount Grammont right behind it. We had been shooting in the zone for four days, and on the last day, we made our way up to the north side of the peak. After half of the descent, we realized we had forgotten something crucial — our drone. The footage from those four days was essential for the film, so we decided to go back to the starting point to retrieve it. That meant hiking up another 300 meters to get it. It was exhausting. At that point, I remember thinking, ‘How on earth am I going to make it back down the mountain again?’ We found the drone when it got dark, but then we had trouble finding the trail and ended up getting stuck in the forest, trying to find the path. It felt like we were running out of time and options. Then, finally, we found it. I can still remember that moment — the relief when I thought, ‘Yes, I found it. We’re going to be okay.’ It was a huge weight off my shoulders. Sure, we weren’t really in danger, but I was mentally drained from all the shooting, hiking, and searching for the drone. My energy was completely spent, and I was ready to be done. Finding the path was a turning point. It was like a light at the end of the tunnel.”

Levi Luggen: “One of the journeys I really loved was during a splitboarding tour we did around March. We were scrambling on a mountain with this beautiful red-colored rock, and it wasn’t just about the splitboarding; we wanted to mix in a bit of climbing, nothing too technical, but it was a really fun day out in the mountains. I especially loved the images from that day. There was something about the whole experience that just felt memorable. The combination of splitboarding and scrambling was exciting—it felt like I was fully immersed in the adventure. I even took a half-hour nap in the snow, which was a strange but oddly satisfying moment. That day really stood out to me. We also got some great footage from there, and I’ll always remember that as one of the highlights of the journey.”

The film is described as “an adventure that showcases the dedication and enthusiasm for the feeling of weightlessness.” What does this sensation represent for you?

Levi Luggen: “Well, obviously, it’s that feeling of gliding through deep, fresh powder. It’s not just the physical sensation of being weightless — which is already amazing — but there’s also a kind of mental weightlessness that comes with it. You’re completely in the moment, fully present, and everything else just fades away. That, to me, is the best feeling snowboarding can give you — no doubt about it.”

Gregor Betschon: “I think one of the most powerful moments is actually the very last shot of the film, where our photographer Phil follows Levi down the track. You can really see him starting to express his emotions — and for me, that’s also a kind of weightlessness. It’s like this cocktail of intense, elevated emotions. You feel as if you’re flying, yet you’re still somehow connected to the surface. It’s a strange sensation, something rare, and it only happens under the right conditions — not every powder run gives you that. But when you do lose just enough control, when you’re no longer fully grounded, that’s when you feel completely free. It’s just your body moving, flowing, nothing else exists. And in that moment, you can even explode emotionally. That mix — of freedom, movement, and raw emotion — is something I deeply love.”

Are you already working on a new project? 

Both: “Right before this meeting, we were actually on a call to plan our next project — hopefully another film. But honestly, during the post-production process of this last one, which took about a year and a half, there were moments when we really thought it might be our last. It was exhausting. Going through the same footage over and over again, pouring in so much energy and dedication — all while balancing our day jobs — it was a lot. This has always been a passion project. We’re not backed by big contracts or huge budgets. We do this in our free time because we love it. But when we finally finished the film and screened it four times here in Switzerland, we felt a shift. The feedback was so positive. It reminded us of all the amazing days out on the mountain, and it rekindled that spark — the desire to get out there and film something different. Something you don’t often see online or even at film festivals. That’s what really motivates us now — to return to that creative headspace, to imagine new ideas and say, ‘Hey, that could be a great adventure. That story deserves to be told.’ There are so many stories out there. And we know we want to focus more on storytelling going forward, not just action.”