A documentary with Sydney MilaniShot on location in UtahProduced by Rafa Viveros
Why watch·Peerless
Salt Lake City, Utah·Team Peerless USA
01 / 06
“I push and drive a carbon fiber freight train down an ice mountain at 90 mph.”
Sydney Milani
In her own words
02 / 06
“When people hear Team USA, they assume that we're set for life.”
Sydney Milani
She isn't.
“We're responsible for pretty much everything.”
Sydney Milani, in the film
03 / 06
$30,000
a season on the ice
That's about what it costs her. She rents her sled from Team USA, buys her own uniforms and pays to ship it.
“The reality is, there is no finish line if we don't get help.”
Sydney Milani
04 / 06
$90,000
the road to the Games
About what it costs to race internationally, which she has to do to make the Games.
“I won't always win, but I will never quit.”
Sydney Milani
05 / 06
Too small, they said.
So she put on the weight. After her World Cup debut, she quit her job to commit, and then she moved from pushing the sled to driving it.
“I refuse to live a life untested, and my fire would rather burn than ever dim to comfort.”
Sydney Milani
06 / 06
Strength inside the struggle.
When we shot it, she told us that if the money didn't come, she'd have to retire. She didn't want pity. She wanted “the truth captured before the world only sees the finish line.”
01 / 06Tap the still for a line from the filmSwipe for more →
What it took·Peerless
Top,middle,finish.
It was our first time in Utah, shooting on a mountain, up and down the track all day, and always inside the Olympic center's rules. A sled goes by so fast that if you're not in the right place at the right moment, it's gone. So over her runs, we'd set up at the top, then the middle, then the finish. And then there's the cold and the early mornings, eight days of them. We came ready for anything, and everyone we met there was incredible.
“I finished at 50 and I was like, people do this twice. That doesn't make any sense.”
From the film
01 / 06
100 miles.
Five loops of 20 miles around the same lake, on pine needles, roots and wooden bridges.
Night
02 / 06
“I know I'm ready for this.”
From the film
Through the night, by headlamp.
“I bet about a trillion dollars that he's going to finish.”
From the film
03 / 06
A trillion-dollar bet.
That's how much his people believe in him. The next hundred miles decide it.
“There are five stations, it's a loop, and we'll be at two of them for sure.”
From the film
04 / 06
Back into the dark.
At the aid stations, the crews refill bottles and work on tired legs, and then they send their runners back out.
The chair
05 / 06
“Don't die in the chair. You can't quit in the chair. You have to stand up and then quit.”
From the film
Every stop is a chance to quit.
“It's 100 miles on your feet. It's being awake, running for 24 hours. That's no easy task.”
From the film
06 / 06
25+
hours of running
And we were there for all of it, more than 30 hours awake behind the camera.
100 miles
01 / 06Tap the still for a line from the filmSwipe for more →
What it took·100 Miler
No sleep.No outlets.
We woke up at 2:30 in the morning for a 6 AM start, and we didn't sleep again until the next day. We were following two runners, so once they split up, we ran from one aid station to the next and back, all night. It was cold, we went hours without food, and there was nowhere to charge the cameras, the drones or the audio, except one car with an outlet. It ended around 10 or 11 the next morning, and we still went to breakfast together, wrecked.
The documentary with Alan Gonzalez·Emmy Award winnerFashion designer for Alantude·Produced by Rafa Viveros
The man behind the persona
Why watch·Alantude
Who is Alan when the persona drops, and the real work begins?
That's the question the whole film is built on.
“I'm always working.”
Alan Gonzalez, in the film
Red jacket, dark warehouse.
Ten years of a fashion brand.
Alan is the Houston-born, Emmy Award–winning designer behind Alantude. The film follows a decade of his brand, and the work behind it.
“It requires a lot of moving parts. It requires a lot of moving ideas.”
From the film
At the sewing machine.
“Yeah, yeah, we can do it. I'll do it. I'll make it happen.”
Alan Gonzalez, in the film
Between the rolls of fabric.
“He pulls it off.”
From the film
Snow in the park, the skyline behind.
“I've seen some of his best work come out when he's under pressure.”
From the film
“He doesn't just talk about it or think about it. He does it.”
From the film
Alone in an empty theater.
“Like he is who he is and you better deal with it.”
From the film
On the studio floor.
What it took
Two cities.One deadline.
Alan is a creator in his own way, like we are, so it started with a lot of meetings, just trading ideas. Then we shot in New York and Houston on a tight deadline, and the last two days we barely slept, on calls with him going over the film while we edited it.
The premiere
Two cities. Three months. One premiere.
It came out better than we expected, and it premiered on the big screen at a museum in Houston, at his ten-year gala. We couldn't be there, but Alan sent us photos of everyone, so happy about it.
Fittings · Presentation · RunwayDesigned and made in Uruguay
Fashion Week film · coming soon
New York Fashion WeekStory Driven Media
The designer·Nina B
From the interior of Uruguay to Paris Fashion Week.
Yianina “Nina” Bugani comes from the interior of Uruguay. She's a former English teacher, and her brand, Nina B, makes leather pieces designed and made in Uruguay with local artisans.
Read moreRead less
She has shown her work at New York Fashion Week, and in March 2026 she presented in Paris, reported in Uruguay as the first Uruguayan designer to show at Paris Fashion Week. The film follows her work from the fittings to the presentation to the runway.
“Ser pionera implica abrir caminos donde antes no existían referencias.”
“Being a pioneer means opening paths where there were no references before.”
Nina Bugani, to Perfil
What it tookIt only happensonce.
Fashion Week is a whole different world, and Nina is a creator in her field, so we use every hour of those days to shoot behind the scenes, her product and the videos she wants to post. And then at the Fashion Week gala, we needed the right permit to shoot, and we had to win our spot among all the other photographers. This past season, it was outside on a hotel rooftop, and it rained so hard, but we stayed out in it to get those shots, because a show only happens once, and you can't miss it, no matter what.
Open a film to see the shoot, before any of it became a film.
PeerlessUtah6 photos
Landing in Salt Lake City, the gear by the window.Sunset, the camera on the wall above the track.The flags above the track, in the snow.The sled on its trailer, in the pines.The interview set, on the ice.Rafa at the track, behind the camera.
100 MilerHuntsville, Texas5 photos
The camera on the wall, the lake behind it.The crowd outside the race building.Headlamps on, runners and crews in the dark.Crews kneeling at the supply table.A runner sits while his crew works on his legs.
AlantudeNew York and Houston4 photos
An interview in a giant empty warehouse.A long white gallery, the monitor up front.An empty theater, the gear on the floor.An interview in a church, the lights in the aisle.
Nina BuganiNew York Fashion Week2 photos
The interview set: two cameras facing a blue armchair.A last adjustment before the presentation.
New York
The founder
Hey, I'm Rafa.
I'm a filmmaker here in New York, and I run Story Driven Media. I started with nothing but a camera I didn't know how to use, studying architecture in Mexico and shooting photos and videos for my best friend, so I learned it all from zero. Then a filmmaking course moved me into video, which was one of the best decisions of my life.
When I moved to New York, I worked jobs I never thought I'd do again, and I'd drive six or seven hours upstate for a single shoot. I rented the car and the gear, and after gas there was almost nothing left. But I needed the experience, so I kept going. It was hard, but it built the courage of continuation, and I have no regrets.
Then people started coming back. A designer kept bringing me back to Fashion Week. A bobsled team flew me to Utah to tell their story. A friend trusted me with his 100 miles, so we stayed awake for more than 30 hours to get it.
There's real talent out there, people who deserve the chance to show what they're good at. So before I shoot anything, I listen: who you are, what's at stake, and what you want the film to do for you.
“For me, it's an honor, because I love to be part of great things.”
Filmmaker·Founder, Story Driven Media·New York
Films·Questions
Goodto know
What people ask us most before we make a film together. Anything else, just ask us below.
01What does a film cost?
Our films start at $4,500. That's our starting point, and from there we look at everything with you and tailor the budget to the project, so it becomes the best experience it can be for what you're investing.
Every film is different. A brand film shot in New York and a documentary that follows someone across two cities for months are very different projects, so the budget follows what the story needs: where we shoot, how many days, who we interview, and how far we travel.
02How does a film start?
With conversations. Before we plan a single shot, we sit down with you, as many times as it takes, to get to know you and your story: who you are, the turning points, what's at stake, and what you want this film to do.
Then we bring you the story we'd tell and how we'd shoot it. Nothing gets shot until you're happy with that plan.
03How long does it take?
It depends on the story. Alantude, which we shot in New York and Houston, went from our first conversations to its premiere in about three months. We set the dates with you before we start, so you always know what's next.
04Will I see it before it's finished?
Yes, you're part of it the whole way. You see a first cut, you share your notes, and we shape it together before we lock the picture. Then we finish it: color, sound, titles and captions.
05What do I get at the end?
Your finished film, ready for wherever it's going: a master file, a web version and stills for thumbnails, and if it premieres at an event, a version made for the big screen. Once it's paid in full, you can use it at your event, on social media, with the press and in your marketing.
Start a project
We'd love to hearyours.
Tell us about the project, and we'll get back to you personally.
01You tell us the story, in a few lines.
02We reply personally, with questions or a first idea of how we'd shoot it.
03If it's a fit, the intake and the story review come next, and you approve the plan before we shoot.
