The pleasure of One of Those Days 2 is how quickly the ordinary turns surprising. A recognisable ski setting becomes a sequence of improbable-looking transitions, with Candide Thovex’s point of view bringing the viewer along for the ride.
Thovex published the film on 15 January 2015. It belongs to his playful ski-film series, whose understated title is part of the joke: this is very far from an ordinary day on the slopes.
Skill with a sense of humour
The camera stays close to the action, but the film’s personality comes from more than speed. Familiar features become visual setups, and unexpected changes of setting provide the payoff. The sequence rewards watching how the next scene arrives, not only how high a jump appears.
That balance is what makes the film accessible even to someone who does not ski. You can enjoy its rhythm and visual surprises without knowing the name of every manoeuvre.
A finished film is a constructed experience
The sense of a continuous run should not be treated as proof of a single uninterrupted take. The film combines professional performance with production choices, and it does not show every preparation or condition behind the result.
Enjoy it as ski cinema rather than a route to copy through a working resort. For a closer look at how the first-person perspective creates that flowing effect, read our companion feature on the film’s camera viewpoint. Another distinctive approach appears in Léo Taillefer’s Val d’Isère run.
A resort run presented as a choreographed film
Candide Thovex’s sequence links moguls, trees, a tunnel and a wooden terrace into a fast-changing first-person view. The appeal comes partly from those changes of environment: just as the viewer understands one setting, the film introduces another. The skier’s name and original channel are therefore more useful than the old claim that the upload happened “yesterday.”
View counts and upload-relative language date quickly, while the film’s individual moments remain recognisable. The crowded-looking transitions should also be understood within a professional production rather than as ordinary slope behaviour to imitate. A camera close to the skier can make the sequence feel spontaneous, but it does not show all the preparation or activity outside the frame. The article can celebrate the filmmaking and performance without pretending it documents an everyday resort descent.
Sources, photography and further reading
Original feature and image attributions:
- YouTube channel
- Cover photo
- Life Buzz
- What It’s Like to Descend a Mountain as One of the World’s Best Skiers
- Most Insane Ski Line EVER
- Top 10 Ski Villages for a Winter Holiday
- Robbie Maddison Does an Olympic Ski Jump on his Motorbike
- Afterglow: Skiers Traverse an Alaskan Mountain Range Wearing LED Light Suits
- They Were Just Skiing When Their Beautiful Trip Turned Into A Rescue Mission.
- 10 Things Every Skier Must Do Before They Die
- Thovex published the film
- companion feature on the film’s camera viewpoint
- Léo Taillefer’s Val d’Isère run
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