In the world of ski films, some productions go beyond mere sporting performance to tell a true human adventure story. Into Altai belongs to this category. The film takes viewers to one of the most isolated regions on the planet: the Tavan Bogd massif, located in the Mongolian Altai, a border territory between Mongolia, China and Russia.
Directed by Yannick Boissenot, the project follows an expedition led by skiers Camille Armand, Pierre Hourticq and Victor Daviet, accompanied by photographer Søren Rickards. Together, they set off to explore these mountains, which are still largely untouched by adventure skiing enthusiasts. From the very first images, the tone is set: Into Altai is not just a freeride film. It is a story of exploration, where the mountains and the journey take centre stage.
Tavan Bogd, a still unspoilt territory
The backdrop to the expedition is one of the most spectacular mountain ranges in Central Asia. The Tavan Bogd, whose name means “the five sacred mountains”, forms a group of glacial peaks dominating a landscape of glaciers, high-altitude valleys and windswept plateaus. Located in the far west of Mongolia, in Bayan-Ölgii Province, this mountain range also marks the geographical meeting point of three countries: Mongolia, Russia and China.
The highest point of the massif is Khüiten Uul, which reaches an altitude of approximately 4,374 metres, making it the highest peak in Mongolia. Around it are four other major peaks (Nairamdal, Malchin, Bürged and Ölgii) which make up the “five saints” that give the massif its name. Tavan Bogd belongs to the great Altai mountain range, which stretches for nearly 900 kilometres across Central Asia and is one of the region’s main water towers. Glaciers play an essential role here, notably the Potanin Glacier, the longest in Mongolia at nearly 19 kilometres.
For two weeks, the team sets up base camp in a traditional yurt in the heart of this wild environment. The camp becomes the starting point for daily explorations of the slopes of the massif, in a region where human activity remains extremely limited.
The isolation is complete. The distances are immense, the weather conditions changeable, and every outing requires constant adaptation. In this context, skiing becomes a means of exploration rather than a sporting goal.
An expedition combining skiing, photography and filmmaking
One of the unique features of Into Altai is the importance given to imagery. Photographer Søren Rickards and director Yannick Boissenot accompany the team throughout the expedition to document the journey.
The images captured, particularly with film cameras, give the film a distinctive aesthetic. The textures of the snow, the glacial reliefs and the cold light of the Mongolian mountains appear with rare intensity.
This visual approach transforms the sporting expedition into a true artistic project, where photography and film become means of capturing the immensity and solitude of these landscapes.
The experience of travel at the heart of the story
Unlike many ski films that focus on performance, Into Altai places great importance on the experience of the journey. The long approaches, moments of silence in front of glaciers and daily life around the camp make up the real narrative thread.
As the days go by, the adventure unfolds through unexpected events, detours and discoveries. The film shows how exploring an isolated territory requires patience, adaptability and the ability to accept uncertainty.
This contemplative dimension gives the film a particular, almost meditative rhythm, which contrasts with the often spectacular aesthetics of freeride cinema.
Mongolia, a new destination for ski expeditions
For the past decade or so, part of the freeride and mountain skiing scene has been seeking to move away from the already well-documented areas to explore territories that are still relatively unexplored. Expedition films bear witness to this movement: skiers are no longer content with simply stringing together spectacular lines; they are now interested in isolated regions where skiing once again becomes a true means of travel.
In this context, the mountains of Western Mongolia, and in particular the Altai massif, appear to be one of the new frontiers for adventure skiing. The terrain is immense, with numerous glaciers and high-altitude valleys that are virtually uninhabited. The region combines authentic alpine conditions (cold snow, long virgin slopes, large wind-swept plateaus) with extremely low tourist traffic. In some areas, there are no ski lifts or mountain infrastructure: each summit must be earned after long approaches on skis, sometimes on horseback or in an all-terrain vehicle.
This unique geography now attracts a new generation of snow explorers, eager to reconnect with the spirit of the great Alpine expeditions of the 20th century. For these skiers, the goal is not only to find perfect slopes, but to enjoy the overall experience of the journey: crossing vast landscapes, travelling through areas where human presence is rare, and discovering mountain cultures that are still deeply linked to nomadic traditions.
When the mountain becomes the real character in the film
At the end of the expedition, the images brought back by the team bear witness to an adventure that goes far beyond the sporting dimension. The moments shared in the immensity of the mountains, the landscapes crossed and the moments spent gazing at the mountains left a lasting impression. The film reminds us that, in a mountain expedition, the real goal often lies in the journey itself and the experience gained.
With Into Altai, skiing returns to its original purpose: a means of exploration, allowing us to travel across wide open spaces and tell stories in which the mountains remain the central character.
