Alex Lundstrom

Profile and significance

Alex Lundstrom is a film-first American freerider whose big-mountain composure and clear, camera-friendly style have carried him from Park City youth ranks to headline projects. A former Park City Winter Sports School athlete and age-group North American big-mountain champion crowned at Grand Targhee, he shifted his focus toward filming and product-driven storytelling, riding for Dynastar with support from LOOK Bindings and Lange, and appearing frequently with Daymaker Touring and Stio. In fall 2025 he co-directed and co-starred in “RIFF,” a Level 1–presented short filmed across Utah and Alaska, placing his name squarely in the international freeride conversation. Lundstrom isn’t chasing slopestyle points; he’s shaping how modern big-mountain segments read—fast, precise, and easy to understand at full speed.

Competitive arc and key venues

Lundstrom’s early calling card came in youth big-mountain competition, where he earned the North American age-group title at Grand Targhee. That success confirmed habits that matter later on film: line choice that links safe zones, speed management on chalk and wind-buff, and landings that finish stacked. Rather than pursue a long federation career, he pivoted to projects and brand shoots that reward the same discipline. The 2025 short “RIFF,” presented by Level 1 and supported by Dynastar, LOOK, Lange, and Snowbird, follows Lundstrom and Dillon Flinders through a tricky winter that ultimately paid off with a late Alaskan window. Along the way, Lundstrom also appeared in Dynastar film efforts such as “Transmission” and North American team projects that put him beside respected freeriders and underlined his fit as a big-line specialist.

Venue choices explain the polish. Winter after winter, Snowbird provides tram laps, firm-morning timing, and chalky steeps that pressure-test footwork and tempo. Spring and storm cycles in the central Wasatch add the tight decision windows that real filming demands. Then comes Alaska—the state-scale classroom where spine geometry, sluff timing, and long-range plan-B options matter as much as a single air. Stitch Utah’s repetition to the scale of Alaska, and you get footage that looks fast without hurrying and composed without being conservative.

How they ski: what to watch for

Lundstrom skis with deliberate economy. On exposed faces he keeps the upper body quiet and stacked over the feet, using early, precise edge sets to redirect the fall line instead of late, emergency check turns. In couloirs and wind-buffed entries, hop turns land neutral so the next move can happen immediately. When terrain invites air—rollover-to-tranny hits, spine-to-spine transfers—he commits early, places the grab quickly if there is one, and keeps axes obvious all the way to the stomp. The signature is continuity: speed “spent” in small, controlled pieces so the line still has room to breathe at the final safe zone.

Resilience, filming, and influence

Big-mountain filming compresses the margin for error. Windows are short, light is fickle, and sluff management can end a day. Lundstrom’s recent seasons show a repeatable process for thriving inside those limits. He and his partners start with distant line reads and binocular confirmation, mark hazards, and bake safe zones into the plan before a camera comes out. Speed checks happen where they can; the first full line is treated like the keeper. That workflow runs through “RIFF,” where a late-season move to Alaska salvaged a lean winter and produced the kind of spine footage that stands up to repeat viewing. Earlier trips with Daymaker Touring—including Hokkaido and intermountain missions—added snowpack literacy and touring efficiency that translate directly to reliable film days. Together, those habits make Lundstrom the rider editors lean on to anchor a segment’s pace.

Geography that built the toolkit

Place is destiny in freeride. The Park City–to–Little Cottonwood corridor delivers daily variables—storm mornings, chalk at lunch, corn in the afternoon—that force quick reads and clean, repeated decisions. Snowbird supplies the high-speed environment and tram efficiency that build line fitness; neighboring Wasatch terrain adds sled-accessed pillows and short bootpacks that sharpen micro-terrain use. Alaska contributes the magnifier: bigger exposure, blind rollovers, and spine ribs that demand timing and humility in equal parts. Early-career repetitions at Grand Targhee explain why none of that looks rushed—he learned to link features and safe zones long before a heli was involved.

Equipment and partners: practical takeaways

Lundstrom rides for Dynastar with LOOK and Lange, and he frequently appears with Stio and Daymaker Touring. The useful lessons are about setup principles more than model names. Start with a directional or mildly twin-tipped freeride platform that balances stability at speed with a tail you can trust when you must shut down in a pocket. Keep bases fast and edges sharp, detuning only where hookiness is a real hazard on wind-scoured entries; edge hold is non-negotiable on chalk and spines. Bindings should be set for predictable release behavior across drops and traverses rather than cranked for a single “big one.” Boots need a progressive flex and locked-in heel hold so you can pressure the tongue through runnels and land stacked when snow is variable. Predictability beats flash—especially when the face rolls over and the camera is running.

Why fans and progressing skiers care

Lundstrom matters because he turns complex mountains into clips you can “read” instantly. If you’re learning to evaluate freeride lines, watch how he spends speed in installments, how he manages sluff by using ribs and micro-features instead of getting chased, and how early—and held—grabs make rotation obvious when there is air time. If you’re building your own objectives, study the method as much as the movement: scout from afar, set safe zones, tune for consistency, and commit to a version you can reproduce when the window shrinks. That is the through line from youth wins at Grand Targhee to Utah storm segments and the Alaskan payoff in “RIFF,” and it’s why Alex Lundstrom reads like a reference for clarity-first freeriding in the 2020s.