Behind the scenes of the Matterhorn Cervino Speed Opening

Alun Meyerhans and Flavio Gerber, the creative minds behind this film project, give fascinating insights into their work and the challenges they had to overcome while producing «Aiming High» in this interview. 

When and how did you discover your passion for films and filmmaking? 

Alun: My first forays into film involved dancing. When I was a child, I loved dancing and moving around. Filming dance was also really exciting because you were creating something completely new. I found this really fascinating.  

Flavio: Stories, punchlines and twists have been my thing since I was little. I gave the stage a try first before my brother got me interested in the world of film. He was virtually born with a camera in his hand and at some point he needed someone to produce and develop the stories for him.  

What prompted you to document the Matterhorn Cervino Speed Opening on camera?  

Flavio: It was simply a pioneering spirit and an intrinsic interest in the world of skiing: what does a race like this actually entail? What kind of role do the athletes play? Is the sports stars’ «hard graft» truly worth it? What level of performance do they need to reach? For us, the race was the gateway into a closed world that was still a great unknown to us. 

How did the original idea evolve during filming? 

Flavio: It was a prime example of a horizontally mirrored dramaturgy curve. It simply all went downhill, first in 2022 and then in 2023. My bitcoin portfolio followed the same trajectory – great hope of spectacular reward at the start and then bang, it’s all gone. But when something is painful, that’s also when it gets really exciting! 

Alun: The fundamental idea of chronicling the race preparations at all levels never changed. But up until the very last second, we had no idea whether it’d be a story of failure or one of success. Right to the end, we had a huge number of options for how we could tell the story. And we had to make sure we were able to capture all these different voices. 

What were your personal highlights and the biggest challenges of shooting the film?  

Alun: Being so close to the action, getting a glimpse behind the scenes and getting to know the athletes was truly awe-inspiring. Seeing how they take so many risks while wearing just a thin racing suit. The main challenge we encountered was filming at this altitude. It was cold, windy, we had to stay active and make quick decisions, yet still produce high-quality images. 

Flavio: Getting to spend a day with the FIS officials before the final race was cancelled, seeing what they were doing and being present when all the decisions were made – this was a truly unique experience. Keeping emotions in check in moments like these and recording everything on camera was a challenge and a constant balancing act with everyone involved. But we were only really able to get as close as we did thanks to the trust we built up over the two years. 

Are there any specific scenes or moments in the film that you find particularly moving? 

Alun: Whether or not you like Franz Julen – seeing how he fights for this project, faces up to the critics and takes lots of hits, and then has tears in his eyes at the end – that’s very moving. 

Flavio: When the race organiser is simply lost for words with tears in his eyes – that really gets to me. Especially after we accompanied everyone for such a long time. But there’s also something very intimate about riding in a car with Aleksander Aamodt Kilde and listening to hip-hop. 

Who is this film geared towards and what do you hope the audience will gain from watching it? 

Flavio: Our motto was always that this is a film for all skiing fans and everyone else. We were really keen to showcase the world of skiing to a wide, critical audience and tell the stories that take place behind the scenes. In addition, many of us love winter sports, but we also feel guilty when we’re standing in a cable car or watching the next downhill race on TV. We want to depict and highlight this inner conflict. 

Alun: The film portrays all the different aspects of an outdoor event like this and offers a basis for discussion of its pros and cons. It shows the different facets, which is why it should also appeal to a wide audience. 

Sunrise funded this project. How was the working relationship? 

Flavio: When we presented the idea three years ago, we did of course receive lots of critical scrutiny. We had to engage with people who knew a lot about skiing, and yet we also sensed a great desire to tell fascinating stories with stunning imagery. And this is exactly where we slotted in. After a second meeting, the deal was done and we were able to start exploring our story. The working relationship involved a great level of trust. We’re incredibly grateful for this and that’s the reason we’ve now also made it onto the big stage. 

Alun: The working relationship was really cool! We had complete freedom and complete trust. I’d like to express my thanks to Urs Wenger from Sunrise. His support, his positive energy and his dedication allowed us to do an incredible number of things, especially when it came to getting access to the athletes. 

Are there any new projects or ideas that you’re already thinking of pursuing after this film? 

Flavio: After tennis and skiing, there’s only one possible sport: dressage! We both have a background in dancing and know nothing about animals. That’s a perfect match! Joking aside, we’re not short of ideas, but at the moment there’s nothing definite to announce.