This June, filmmaker Max Sargent and cinematographer Somes Huwiler set out on a 23-day, 400km backpacking expedition across Finland and Norway in search of Europe’s most northern tree. Their upcoming short documentary film, The Last Tree, promises an intimate portrayal of the shifting treeline and the urgent story of climate change. We caught up with them before their departure to hear about the expedition, the gear, the story, and what the last tree might have to say.

Let’s start with the journey itself - 400km across forest, mountain, and tundra. What drew you to this route and the idea of searching for Europe’s most northern tree?

Max: Searching for Europe’s most Northern tree seemed like an elegant way to explore the effects of climate change, whilst embedding the story in the context of an immersive adventure. The search for the tree itself is somewhat of a conceit and a device, allowing for the journey to have a purpose, and a goal for both us and the viewer.

The route starts in the dense forest of laplands, over the subarctic fells and then onto the treeless tundra. I chose this route because it demonstrates how forests change and diminish as the climate becomes more extreme at higher latitudes. This allowed us to tell the story of the landscape, giving a context and therefore allowing the “last tree” to have some meaning. 

Midnight sun, shifting treelines, vanishing landscapes - how will you both approach blending the whimsical tone of the film with the very real and urgent story of climate change?

Somes: My primary aim is to visually immerse the viewer in the natural beauty and ecological complexity of the landscapes we traverse. Through carefully composed, observational cinematography, I want to establish an intimate connection between the audience and the environment. As a presenter-led film, we have a lot of flexibility in terms of story.

Essential context, scientific insight, and personal reflections can be woven into the narrative organically, without disrupting the visual flow. Similarly, I do think the story will speak for itself as we engage with the idea of the forest encroaching onto the tundra.

Max: I wanted to make a more whimsical film because I think that if you can make people fall in love with nature then that itself will precipitate change. We don’t fear the loss of friends and family because of the urgency of their demise, but because we love being around them. I think that if we can do this with nature, it probably has more power than scaring people. Not that people shouldn’t be afraid, they should, but we don’t need to tell them that. They can figure it out for themselves.

What role will the landscape itself play in shaping your visual storytelling choices?

Somes: As we journey from the dense, coniferous forests of Finnish Lapland into the vast, windswept expanses of the Arctic tundra, we will encounter rivers, lakes, mountains, vast open landscapes and of course, wildlife. These shifting environments will serve not just as a backdrop, but as central characters in the story. Through immersive, observational cinematography, I aim to craft an intimate portrayal of these landscapes, seeing them through our eyes as we move through them.

This close, experiential perspective will allow the audience to feel the scale, solitude, and subtle transformations of the environment. Wildlife encounters, changing light, and weather will be treated as natural rhythms of the land, reinforcing a deep sense of place and presence as the forest gradually encroaches upon the tundra.

Max: The different landscapes suggested different cinematic choices. Dense forests invite more close-ups and greater intimacy, whereas the vastness of the tundra proposes big wides, large soundscapes and more openness. As the film progresses and the landscapes become bigger, the film slows down and becomes more spacious too. This wasn’t intended, but happened naturally.

If the last tree could talk, what do you think it would say to you as you arrived after 400km?

Max: Why have you come? Maybe something like that. Wherever anything lives, life feels fairly normal, and I think for the Last Tree that would be the same. I suspect it feels its life is much the same as any other tree.

Somes: I think the tree will speak for itself when we find it. As climates are changing and environments are shifting, organisms are forced to adapt and find life wherever they can. The last tree is a harsh reality of climate changes, it represents a species pushed northward, inch by inch, in search of the conditions it once knew.

Tell us how you will prepare for meals, snacks and hydration along the way.

Max: Hydration was fairly straightforward as the whole region is extremely wet. Dangerously wet in fact! Meals were a bit more of a struggle as we had to carry around 7 days worth at a time, with no opportunity to resupply. So we had to judge amounts correctly, but we were also very limited due to space and weight. For these reasons we had to think carefully about food. In the end, we opted for dried hiking meals (and I had double dinners). We also made the foolish decision to carry a jar of jam which broke in my bag on day three and covered everything in a sticky mess (it’s in the film). 

Somes: In preparation for the trek, we are carefully planning our daily meals and snacks to ensure we remain properly fuelled throughout the journey. Our goal is to maintain a balance of sustained energy, nutritional value, and morale. We aim to have 2-3 main meals per day, supplemented with a variety of high-energy snacks and bars.

I think variety will be key as well, having a fun and diverse selection of snacks will help keep meals from becoming monotonous and provide a psychological lift when needed most.

What does the “last tree” mean to you, symbolically?

Somes: The Last Tree is a physical manifestation of the effects of climate change. As global temperatures rise, ecosystems are shifting, and the forest is slowly but steadily pushing northward into what was once open tundra. This encroachment is not a sudden takeover, but a gradual, silent migration, driven by species seeking the conditions they need to survive.

The tree will likely be a relatively juvenile tree as new seeds are spread further north to find the resources to survive.

Max: The Last Tree demonstrates how climate frontiers are shifting. That being said, as it was a device, it’s not the most scientific discovery and so it’s hard to say what the tree itself actually means. As a symbol though, it’s a means to communicate the changes which are occurring.

How important is bringing the right outdoor gear and clothing to an expedition like this?

Somes: Clothing and gear will be one of the most critical aspects of this expedition. With the added weight of camera equipment, batteries, and charging systems, every item we carry must be carefully chosen to balance efficiency. The weather for our expedition is going to be unpredictable, with a wide temperature range and possibilities of various elements.

High-performance outerwear, moisture-wicking base layers, and durable, insulated clothing will be essential to maintain body heat and protect against exposure. Every item we pack must be carefully chosen to support both the physical demands of the trek and our production needs.

Max - Layers and batteries! These were the two things we couldn’t get enough off. And food. Due to the distances walked and the amount of gear we were carrying, everything had to be light and efficient. I’m not an ultralighter - I don’t think it works outside of stable, warm environments - so our packs ended up weighing around 30kg at their heaviest. Nevertheless, everything we took was essential and for the first time in my life I wasn’t carrying dead weight.

Having a suitable tent and sleeping bag is probably key. Because if you have these things, you can get cold and wet and tired, but always know you’ll be warm and safe when it’s time to go to bed.

What made you choose the Gregory Women’s Deva 70 as your backpack? Was there something specific about the fit, features, or capacity that stood out to you?

Somes: The Gregory Deva 70 is an excellent choice for this type of expedition. With its 70-litre capacity, it gives me enough room to pack all the essentials for backpacking, including my camera gear, without feeling overburdened. What really stands out to me, though, is how well it’s designed specifically for women. The back support and adjustable straps fit perfectly to my body, significantly reducing the weight on my shoulders and hips. The thoughtful design will allow me to focus on the journey without worrying about my gear weighing me down.

As the director, how do you envision the story arc of the film? Do you anticipate it shifting once you are out in the wilderness?

Max: The whole film takes place in the wilderness - or the closest you can get to wilderness in Europe, at least. The arc definitely becomes more contemplative and peaceful as we move out of the busy forests and up onto the tundra. Really the ark follows the diminishing trees and the increasing openness.

You’re working with a small team in remote locations - what is your approach to producing a film like this with limited access to power, connectivity, or backup?

Max: This was one of the toughest aspects to plan for. In the end though, it worked out quite easily. Due to the expedition format, we didn’t need the best footage in the world and this meant that we could shoot at lower codecs and use cheaper SD cards. As such, we shot onto dual SD and didn’t backup during the shoot, meaning we didn’t need hard drives or computers.

Regarding power, we thought this would be a real challenge but with one battery for each day and two large power banks, we never actually came close to running out. However, this meant that we had to shoot an average of 1 hour of footage per day in order to stay on track. This matched with the amount of card data we had available too, so it worked.

For connectivity we used a Garmin inReach and messaged a contact once per day with our coordinates and to let them know we were alive. Other than this, we were pretty disconnected. However, there was data coverage for most of the journey; such is the modern world!

What do you hope audiences walk away thinking or feeling once they’ve seen The Last Tree?

Max: I hope they’ll have enjoyed themselves, understand a little more about what different ecosystems need to survive and how even tiny differences can dramatically change these places. For instance, it only takes a shift of one or two degrees in the summer months for tundra to turn into forest, and therefore become a completely different ecosystem.

I want viewers to fall in love with nature and all of its habitats, not one over the other. I also want people to get some sense of the nature of change and the flux the planet is currently in, without feeling that all change is necessarily bad.

How do you make space for the quiet, subtle moments in a world that often demands spectacle?

Max: I work with sound a lot, and I’ve incorporated this element into my film. There are several sequences with long shots and recordings of wind, or water on ice, or birds, etc. These allow the viewer to stop thinking and just to be. I’m not one for fast-paced things or spectacle, and I think that’s reflected in the slow and gentle pacing of the film. For this reason, it won’t be for everyone, but I think it better represents the landscapes we were in, which are old and gentle and subtle.

Where are some of your favourite places to hike or camp - those spots you return to just for the love of it?

Max: I love walking in my home in Somerset, because it's home. What’s more, having always explored this area, I know so many little hidden places - small patches of trees, ruined buildings, small streams - that I can appreciate a familiar and granular detail here which I can’t elsewhere. 

Of course, I love hiking in more dramatic place such as Norway, Mongolia or Jordan, but ultimately the cosy places that feel like home will always have my heart.

How did you get into filmmaking? What first sparked your interest and why do you enjoy it?

Somes: I’ve always felt most at home in the natural world. After graduating from the University of Virginia, I interned with Jackson Wild, the Oscars equivalent of the natural history filmmaking world. That experience opened doors to a vibrant and inspiring community of explorers, filmmakers, and cinematographers who have shaped my growth and helped guide my path.

As a kid, I was deeply moved by BBC's Planet Earth. I was especially drawn to the behind-the-scenes segments. That sense of wonder has stayed with me. I believe in the power of film to inspire, to connect, and to communicate urgent environmental stories in a way no other medium can. It’s more than a job, it’s a calling, and one I’m grateful to pursue every day.

You’ll be working across many environments, but what will make this project stand out to you personally - as a filmmaker and as a conservationist?

Somes: This is a one of a kind expedition, an exploration for something that has never been searched for before. Filming an extended trekking expedition in this environment presents its own unique set of challenges as well. With every step, we carry not just survival gear but sensitive camera equipment, charging systems, and batteries. Weight and energy management become critical concerns, requiring careful planning and creative solutions.

The Arctic is a region that few people truly know. By sharing this story, we hope to bring attention to the untold stories that are hiding in plain sight.

How have you prepared to film in 24 hours of daylight for over three weeks? Will it affect how you approach composition, light, and rest?

Somes: This will be my first time experiencing the midnight sun, something I’ve always curious about, and now get to navigate firsthand. With 24 hours of daylight, we’ll have the rare advantage of extended shooting windows, allowing for longer days on the trail and more flexibility when it comes to capturing key moments, especially if we encounter wildlife.

The constant light also opens up creative possibilities, allowing us to experiment with different times of day to find the most striking visuals. Of course, this uninterrupted daylight comes with many challenges around rest and recovery. The lack of a natural night will make it more difficult to maintain a healthy sleep rhythm, so we’re planning to stick to a consistent schedule and simulate ‘night’ as best we can.

When you’re shooting in extreme or delicate environments like the Arctic tundra, how do you balance capturing beautiful imagery while respecting the fragility of the landscape?

Somes: Filming in extreme environments like the Arctic tundra requires a deep respect for the landscape, and it’s crucial to approach it with both awareness and sensitivity. The goal is always to capture the beauty and raw power of the environment without leaving a footprint that could disrupt or harm it.

First and foremost, we ensure that our presence is as minimal and non-invasive as possible. This means following Leave No Trace principles, avoiding disturbance to wildlife, and setting up our filming equipment in ways that don’t disrupt the natural flow of the environment. In terms of imagery, the goal is to let the landscape speak for itself. We’re there to observe and sometimes the most beautiful shots come from simply allowing nature to unfold in its own time.

With the added weight of your camera gear and the constraints of a student film budget, how did you go about choosing your kit for the expedition? Will there be any ultralight gear discoveries that become unexpected MVPs - or anything you will have to seriously compromise on?

Somes: For this expedition, I’ll be using the Sony A7Siii, a lightweight and compact mirrorless camera that’s ideal for capturing both stills and video. Its versatility makes it perfect for the unpredictable nature of filming in the field. I’ll be pairing it with a 24-105mm lens, which will serve as the workhorse for most of the expedition.

Additionally, I’ll bring along a 200-600mm lens for any wildlife we may encounter along the way. The extended zoom will be invaluable for capturing animals from a safe and non-intrusive distance. Ultimately, it’s all about striking the right balance, being prepared for the unexpected while managing weight and ensuring we can operate effectively in a remote and demanding environment.

You’re part of the Wildlife Camerawomen community - a global network of natural history filmmakers. What kinds of stories are you most drawn to personally, and how has being part of that community shaped your approach to storytelling?

Somes: I’m drawn to stories that highlight the power of human creativity and the beauty of the natural world. Through film, I believe we can communicate complex issues in ways that inspire real change. It’s one of the most powerful tools we have for education, advocacy, and connection. With every project, I aim to create meaningful, impact-driven media that sparks curiosity and drives action to protect our planet.

The Wildlife Camerawomen Community has been an incredible source of support and inspiration. In a field that has historically been dominated by men, it’s empowering to see so many women making a mark and thriving in this space. Their presence reminds me daily that not only is this career path possible, but it’s one I can contribute to and shape in my own way.

Where are some of your favourite places to hike or camp - those spots you return to just for the love of it?

Somes: Jackson, WY will always have my heart. The beauty and diversity of its landscapes make even a short drive through the mountains feel like an adventure. There are so many incredible spots to discover that it’s nearly impossible to choose a favourite.

The first backpacking trip I ever took was along the Teton Crest Trail in Grand Teton National Park, and it was unlike anything I had ever experienced. The sheer vastness and rugged beauty of the wilderness opened my eyes to human-powered exploration and instilled in me a deep love for the backcountry. Since then, I’ve never grown tired of looking at…

The Last Tree is more than just a film – it’s a testament to the quiet resilience of nature and a stark reminder of the changes we’re all witnessing. Stay tuned for updates from the field as Max and Some's journey north, one step closer to finding the last tree.