Director's Representation

Hurry Sundown

Paris Paloma confronts the threat of Generative AI, rendered in physical form as an amorphous monster, in Georgie Cowan-Turner rousing promo for the singer-songwriter.&nbsp;Conceptualising the technology&nbsp;that has caused considerable upheaval across the creative industries as a human in a costume, the video for Miyazaki takes the track's themes and brings them to life in a clever, thought-provoking way: Paris is&nbsp;an armour-wearing knight,&nbsp;making her way through a forest until coming upon the faceless monster, and responds with a fiery display of her own.&nbsp;&nbsp;Anchored by another confident, assured performance, Cowan-Turner's latest promo for Paris Paloma is&nbsp;a statement of intent - a promise to keep creating as humans and to weather the storm at every turn.&nbsp;[imgtoken data:1]"We wanted the video to be a defiant response to the AI crisis facing the creative industries, something both myself and Paris feel passionately about," says the director.&nbsp;"The song's title was inspired by Hayao Miyazaki, co-founder of Studio Ghibli, who is known for his immense creativity and his visceral reaction when presented with an AI 'monster' which he called an 'Insult to life itself'.<blockquote>I wanted the creature to have that eerie slightly void feeling of AI art.</blockquote>"We decided to make Paris a defiant knight fleeing from an AI monster inspired by the one that Miyazaki reacted to. Instead of using AI I worked with the talented costume designer and visual artist&nbsp;Juliet Dodson on the costume to create a 'human-made' version of AI, a character then embodied by dancer Jennifer Wilson.[imgtoken data:2]"I wanted the creature to have that eerie slightly void feeling of AI art. It follows Paris in the way of classic monsters but it sort of fails in every way - it's AI slop."In contrast to the monster, for the rest of the video I was drawn to paintings and the visuals associated with both artistry and classic, human storytelling (with a Paris twist) so knights and fairytales, female warriors seen on screen - Cate Blanchett in armour in Elizabeth: The Golden Age, Joan of Arc and then also the role of fire in films about female artists like Portrait of a Lady on Fire."It's really a piece about fighting for your right to create and reminding us all how much we have to lose if we devalue human creativity."

United Kingdom

Jennifer Wilson

Dan Smith

Leith Clark

Georgie Cowan-Turner

Emily Clifford

Blindeye Films

Hollie Mapp

Ciaran O'brien

Peter Bromfield

Alex Kryszkiewicz

Mo Adbi

Chelsea Bernard

Zana Piber

Juliet Dodson

Mike O'Gorman

Alice Howlett

Louis Catlett

Sharon Chung

Wash

Max Colt @ The Frender

Nettwerk

Singer songwriter

Paris Paloma 'Miyazaki' by Georgie Cowan-Turner | 'It's about reminding us all how much we lose if we devalue human creativity.'

Paris Paloma - Miyazaki [Official Music Video]

It's collab number five for Say Now and director&nbsp;Douglas Reddan - and quite possibly the best yet.&nbsp;The video for Millions evokes girlgroup nostalgia in every frame, paying homage to videos like <a href="https://www.youtube.com/watch?v=VCLxJd1d84s" target="_blank">The Pussycat Dolls'&nbsp;Buttons</a> whilst keeping things fresh and cinematic.&nbsp;From slick choreo to decadent, gold-hued&nbsp;performance vibes, it's an accomplished, ambitious visual that still feels intimate and authentic.&nbsp;The future of girl group videos is in good hands. And let's see what both sides bring to the next collab - it's sure to be a hit.[imgtoken data:1][imgtoken data:2]&nbsp;[imgtoken data:3]

Shireen Mccormack

Marcus Vrondas

Sanilson Monteiro

Cameron Holland

Tallia Clarke

Charlie Morris

Lili Ramundi

Say Now Stylist: Tio

Douglas Reddan

Nathan Legger

Abby Rothwell

FRIEND

Kim Jarrett

Krunal Saadrani

Billy Kendall

Gina Crighton

Jamie Oliver Lai

Beth Lamyman

Todd Williamson

Hana Morris

Ashley-Michael Graham

Noemie Adebiyi

Rob McGuire

Shift

Megan Lee

Harbor Picture Company

Andrew Loughnane

Atlantic Records

Lola Webster

Emmyland

SHL Lighting

Say Now 'Millions' by Douglas Reddan

Say-Now-'Millions'-by-Douglas-Reddan

Jessie Ware channels her inner horsewoman - with&nbsp;leading actor James Norton as her willing steed - in Thomas James' steamy and atmospheric video for Ride.Featuring an interpolation of the main theme from classic spaghetti western The Good, The Bad &amp; The Ugly, the song certainly lends itself to having a cowboy-based video. But under James's direction, this takes an untypical turn, and certainly puts Jessie in control: Norton rides into Jessie's life, on white horse Caravan,&nbsp;but she asserts a majestic presence, and he becomes her submissive plaything.With a moody cinematic monochrome palette&nbsp;shot by Natasha Duursma, this sees Jessie the disco diva making a leftfield move into an aesthetic that&nbsp;Thomas James has perfected working for hellraising rock-based acts and&nbsp;iconoclastic rappers like Kneecap. And it pays off, in adding another dimension to her mystique.&nbsp;[imgtoken data:1]&nbsp;&nbsp;[imgtoken data:2]&nbsp;"The video is fully about Jessie and James - and their pretty stellar performances," says Thomas James. "Twisting perhaps, expectations of the handsome alpha cowboy."They approached the project really wanting to push perceptions. We had a lot of rehearsal, and the guys were very keen to improvise..."It was quite a liberating shoot, just rolling with the spontaneity. I think their on-screen chemistry, and there trust in each other, is what makes it what it is."

Syd Harmony

Benjamin Johnsson

Thomas James

Chris Murdoch

Artclass Content

Theresa Adebiyi

Tom Nowell

Natasha Duursma

Sam Holmes

Scarlet Green

Chris Malin

Toby Mckay

Leo Westcott

Ella Lucia

Patrick Wilson

Francesca Brazzo

Tom Gilfillan

Luke Spencer

The Shop

Nathaniel Skeels

James Norton

EMI Records

Disco

Dance

Jessie Ware 'Ride' by Thomas James

Jessie-Ware-'Ride'-by-Thomas-James

<h3>We spoke to FRIEND director Noel Paul about his extraordinary new video for singer-songwriter Mitski, hearing about&nbsp;the idea at its heart, the pros and cons of working at a&nbsp;remarkable location&nbsp;and the big influence of experimental filmmaker Guy Maddin on it's breathless narrative&nbsp;style.&nbsp;BTS photos by Melanie Safi.</h3>Although he has been largely occupied on a feature film in the past year or so, Noel Paul has managed to crowbar a couple of significant music video projects into his busy schedule. And both of them have contributed to a very distinctive storytelling technique that Paul has been working on for a while, where the action all takes place much more quickly than normal.In his UKMVA-winning video for Black Midi's Sugar/Tsu, the accelerated pace of the video is a contributing factor in achieving a suitable level of weirdness that goes hand-in-hand with the eccentric nature of the band. Then in his video for&nbsp;Geese's Taxes, which came out last summer, it's central to the plot, as the band's show at a small club explodes into chaos.And now, there is Paul's video for Mitski's Where My Phone?, where the technique is applied in its most ambitious form yet. It's fair to say that it transforms an existing text, and in doing so, creates&nbsp;something unique and hugely powerful.&nbsp;[vidtoken data:0]The base material is a gripping gothic tale, in which Mitski takes on a very surprising role - the guardian of a younger girl, desperate to prevent her charge to leave the picturesque house&nbsp;where they live, paranoid about her connecting with any of the stream of strange visitors who descend upon the house.Under Noel Paul's direction, this is delivered at a crazily zany speed, rendering it strange and cartoonish. It's both highly original and utterly gripping - with a fantastic performance by Mitski in the lead role, leading to a jolting denouement.It's undoubtedly one of the best videos of the year so far.&nbsp;So we got in touch with Noel Paul to find out how it happened.<h3>PROMONEWS: How did this project start for you? What kind of brief did you get from Team Mitski?</h3>NOEL PAUL: It started with a text message from Mitski’s manager that just said “Noel.” Then like 20 minutes went by with no follow up message and my curiosity was piqued. That’s how the real pros convince you to pitch.Mitski’s prompt mentioned <a href="https://archive.org/details/wehavealwayslive00jack" target="_blank">Shirley Jackson’s novel&nbsp;We Have Always Lived In The Castle</a>&nbsp;as a vibe reference, and asked for an absurd video involving Mitski repeatedly facing obstacles of some kind.<blockquote>Mitski can express all kinds of things with her body language. That emboldened me to ask her for an over-the-top performance.&nbsp;</blockquote><h3>The idea for the video seems a long way from the song title. Did the theme of the song influence the concept, or did it come from another place entirely?</h3>NP: Well, the song seems to be about losing more than your phone. Losing yourself, or wanting to lose yourself, or wanting to get away from yourself and from the world. From everything in you and around you that’s hijacking your attention. That’s how it resonated with me, anyhow.So a barrage of exaggerated gestures felt appropriate. The premise is lifted from the Shirley Jackson novel Mitski mentioned in her brief, with Mitski cast as a protective paranoiac struggling to keep a younger woman confined in a gothic house.[imgtoken data:1]Above; Mitski (centre) and Noel Paul (right) on the Where's My Phone? video shoot in upstate New York, November 2025<h3>She’s experienced in the medium and seems comfortable expressing emotion on screen. Was that a factor in the idea, and the choice of story?</h3>NP: Mitski gives fearless performances and she’s a gifted mover. She can fight, jump, learn choreography, change her pace, and express all kinds of things with her body language. That certainly emboldened me to ask her for such an over the top performance.&nbsp;PN: Did your previous collaboration with Mitski have an influence or a bearing on this one?&nbsp;NP: In our previous video,&nbsp;<a href="https://www.youtube.com/watch?v=5WW7cuAm-7Y" target="_blank">Bug Like an Angel</a>, Mitski was the fixed point around which the action swirled. She barely moves. She gives a quiet, inscrutable performance. The tension and power comes from her restraint, her stillness, and then the one moment of eye contact when she looks up. In Where’s My Phone? she gets to do pretty much the opposite of all that.<h3>PN: What were the biggest challenges in pre-production?&nbsp;</h3>NP: The biggest challenge in prepro was finding a location. We needed a Victorian gothic revival house with a magical quality, it had to have a yard that set it apart from nearby houses, and it had to be inside the 25-mile radius “production zone” around NYC. That’s a tall order.[imgtoken data:2]Above: "My producer Lucy&nbsp;and I just went and knocked on doors... Eventually we came to this little green house that looks like it’s from a fairy tale."I follow some photographers who document neighbourhoods in the five boroughs. By trawling through their photos I made a list of houses that looked interesting, but I had no contact info for any of them. So my producer Lucy and I just went and knocked on doors.&nbsp;The first place we tried turned out to be right next door to an open-air shooting range and the sound of gunfire was extremely oppressive. That didn’t seem like the right vibe for Mitski so we moved on.Eventually we came to this little green house that looks like it’s from a fairy tale. We rang the doorbell and met Edwin, its owner and restorer, who graciously invited us in and showed us around. His home is not only beautiful on the outside, the interior is essentially a museum of period antiques and furnishings. It’s extraordinary.We were very fortunate to be able to shoot the video in such a special place with such a cool host. Edwin has a cameo in the video too: he’s the neighbour holding a rake.[imgtoken data:3]Above: Autumn in New York;&nbsp;Mitski watches on at the Where's My Phone? shoot location&nbsp;<h3>PN: When and where did you shoot the video and how many shoot days? What were the biggest challenges on the shoot?&nbsp;</h3>NP: The shoot was two days in mid-November. I wanted the camera language to have the energy of a moth frantically orbiting and smashing itself around a lightbulb. But the house was cramped and full of precious antiques, so an FPV drone wasn’t possible. And anyways, I think they lack the finesse and personal touch you get with a handheld camera.And we had to work fast. The shotlist was enormous. We did something like 35 setups per day. So a big part of the challenge was just how to let my DoP Ramzi Hibri be a moth without all the footage feeling too homogenous.&nbsp;<blockquote>I wanted...&nbsp;the energy of a moth frantically orbiting and smashing itself around a lightbulb.</blockquote><h3>PN: The storytelling technique in Where’s My Phone is something you’ve explored before, in your videos for Black Midi, Geese, Danny Brown. Where did it originate? How is it evolving? And how do you achieve it in terms of shooting - slower frame rate?</h3>NP: Exactly, the similarity across all those videos is the use of slow frame rates, aka undercranking.I think it originates with an experience I had as an art student many years ago when I got to work on a Guy Maddin film,&nbsp;<a href="https://www.youtube.com/watch?v=YVl5Bnj_EO8" target="_blank">The Brand Upon The Brain</a>. It was the first time I was on a film set. Guy was constantly changing framerates, improvising shots, putting vaseline on the lens, often recording sound independently of picture, shouting directions at the cast mid-performance. There was a freedom and playfulness to his approach. It had a tremendous influence on me.[vidtoken data:1]<h3>PN: Mitski gives an amazing performance in the video. What kind of direction did you give her?</h3>NP: We worked hard to constantly shift gears throughout the shoot, both emotionally and physically. Ramzi and our cast needed to change their pace from shot to shot and move through space and emotional states at different speeds. We listened to different music on set to set the vibe, like <a href="https://www.youtube.com/watch?v=yKOxwPWTuo0" target="_blank">Stravinsky’s Firebird</a> and <a href="https://www.youtube.com/watch?v=IS2at_MP9GA" target="_blank">Popol Vuh’s soundtrack of&nbsp;Aguirre, The Wrath of God</a>.&nbsp;Because the story is so hyperspeed and Mitski’s role has so much paranoid/protective motivation, there was a danger that her character could seem too one-dimensional. Ramzi, my movement director Monica Mirabile, and my dramaturg Martha West were all very attentive to this, helping to make sure we made space for Mitski’s character to give moments of sorrow, ecstasy, resignation, and serenity amidst all the crashing out. It required a lot of mental and physical dexterity from everyone.[imgtoken data:4]Above: Mitski with co-stars&nbsp;Madison Wada (left) and Miki Orihara on set of the Where's My Phone? video, Paul sitting on the right.&nbsp;&nbsp;The other thing that really helped Mitski give such a great performance was the quality of the rest of the cast, many of whom are gifted dancers and movement practitioners that Monica brought onboard. Madison Wada and Miki Orihara, who play Mitski’s family, are both incredible dancers. So are Tara-Jo Tashna, Kate Williams, Christina Torres, Reed Rushes, Martha West, and Allison Hsu. And Sam Geller, who Mitski murders [in the video], is an Aikido instructor.<h3>PN: What’s next for you?</h3>NP: I’ve recently finished two years of editing and co-producing a feature documentary called&nbsp;<a href="https://www.berlinale.de/en/2026/programme/202604750.html" target="_blank">Bucks Harbor, that's&nbsp;just premiered at the Berlinale</a>. It was my first time editing a feature and it was an enormous undertaking - so much so that the only two videos I directed in the last two years were <a href="https://www.youtube.com/watch?v=Phh3oVCtzBg" target="_blank">Geese's Taxes</a> and Where’s My Phone. So now I’m starting to look for the next big project. And in the meantime I’m hoping to do more music videos this spring and summer.• Noel Paul is with FRIEND London in the UK for music videos and commercials; he is repped for music videos by Sam Davey at Hurry Sundown. &nbsp;

Noel Paul

Noel Paul on Mitski's Where's My Phone? video: 'A barrage of exaggerated gestures felt appropriate.'

Mitski-'Where's-My-Phone?'-by-Noel-Paul

Black-Midi--'Sugar/tzu'-by-Noel-Paul

Georgie Cowan-Turner directs a stirring and thought-provoking&nbsp;promo for Paris Paloma.&nbsp;The video for Good Girl follows the director's video for the singer-songwriter's Good Boy in exploring perceptions of femininity&nbsp;and challenging entrenched male behaviour. It also has Paris taking on a very striking persona - in this case, the statue&nbsp;carved by a sculptor (played by actor Richard Armitage) that comes to life.Anchored by painterly, atmospheric cinematography, the video explores ideas of&nbsp;beauty, the pressures of body politics and the history of how women's bodies are often depicted through art. It's also a fast-moving tale with echoes of classic horror fiction.As Paris Paloma as the statue comes to life,&nbsp;then becomes flesh and blood, Cowan-Turner thrusts the viewer&nbsp;into a pulsating montage she takes on Armitage, the camera constantly in motion.&nbsp;With excellent craft and standout performances, it's a powerful visual.[imgtoken data:1]"We wanted to create a video that explores the feeling of being watched and breaking free," Cowan-Turner explains, "sort of embodying the Margaret Atwood quote 'Up on a pedestal or down on your knees, it's all a male fantasy… You are a woman with a man inside watching a woman'.&nbsp;"From there we built a video that hints at male artists abusing their muses - the Pygmalion myth turning into our version of Frankenstein. But this time it's just the ‘perfected’ statue woman coming to life of her own accord and eventually becoming a flesh and blood woman, who chooses to eat and exist freely in her own body without only being a product of what others want her to be."[imgtoken data:2]"The incredible Richard Armitage plays our male artist, a figure based around Picasso and Rodin. He creates a woman in his desired image, is terrified when she comes to life then tries to capitalise on it when she becomes her own woman."Through the myth of video we were keen to touch on current issues of men filming women without their consent, the rise of diet culture and cosmetic procedures, online hatred for women’s bodies and dismantling some of the visual styles and films through cinema that have played a part in normalising the male gaze."It’s always so exciting to work with Paris, she is a real storyteller, and voice of a generation as well as being an incredible presence on screen."

Zenon Clements

Cat Giles

Richard Armitage

Nettwerk Records

Paris Paloma 'Good Girl' by Georgie Cowan-Turner

Paris-Paloma-'Good-Girl'-by-Georgie-Cowan-turner

Maxim Kelly drops his third and final instalment of a trilogy of videos for Archive.The video for City Walls features&nbsp;an anachronistic, AI-generated montage of events, unravelling across a week.&nbsp;Lingering on symbolism and abstract interpretation, the video focuses on stirring snapshots of death, disease and natural disaster, encapsulated in a UK-adjacent environment. Kelly also maintains a tension between drama and absurdity that has been the hallmark of his previous AI-gen Archive videos for <a href="https://www.promonews.tv/videos/2025/09/11/archive-look-us-maxim-kelly/92546" target="_blank">Look At Us</a> and <a href="https://www.promonews.tv/videos/2025/11/26/archive-wake-strange-maxim-kelly/93319" target="_blank">Wake Up Strange</a>.It's a thought-provoking piece, representative of what&nbsp;AI is now able to achieve - whether that's a good or bad thing is for viewers to decide.&nbsp;

Maxim Kelly

Sam Davey

John Moule

Vid Price

PIAS

Trim Editing

Archive 'City Walls' by Maxim Kelly

Archive-'City-Walls'-by-Maxim-Kelly

Pedro Takahashi brings&nbsp;Essex&nbsp;club culture to life in this pulsating short video for Jeshi's&nbsp;new song&nbsp;Champagne, featuring Fredwave.Set in a club in Tottenham, we are straight onto a packed dancefloor,&nbsp;full of young people, with Jeshi and Fredwave in the centre. It's breathless and it's bouncy - and it's brief.Leaves you wanting more - but apparently the one minute cut is all we're getting...

Ellie Rimmer

Pedro Takahashi

Matt Edge

Max Conran

Danny Zanre

Roisin Byrne

Shee Won Park

Connor Coolbear

Partisan

Select Disks

Electric Theatre Collective

Jeshi ft Fredwave 'Champagne' by Pedro Takahashi

Jeshi ft. Fredwave - Champagne

Andrew De Zen reunites with Canadian musician&nbsp;Brady Kendall, aka Alaskan Tapes, for their fifth collaboration. Like its predecessors, this is an&nbsp;exercise in pure cinema, a heart-wrenching narrative tied to an environmental theme.&nbsp;De Zen's&nbsp;video for Holocene is a dystopian tale rooted in realism, as a young couple - played by Thomas Nicolson and India Shaw-Smith - must decide&nbsp;if they want to have a child brought into an increasingly broken world, rife with distant fires and an encroaching moon.Mixing engrossing narrative moments with snapshots of a world that is both familiar and alien, it's an arresting visual with standout performances and top-notch direction from the Paris-based Canadian writer-director, and grounded by Alaskan Tapes' original track.&nbsp;[imgtoken data:1]Brought to life by production partner BOLDLY in Vancouver, the filming took place over five intense shoot days. The natural elements, like the imposing moon and wildfires, were created in partnership with Copenhagen post house, Chemistry VFX."For unknown reasons I deeply love merging something that is more surreal or conceptual, often mysterious, with a raw emotional energy, what ends up being very human and vulnerable to communicate,"&nbsp;explains De Zen. "There are a few images in this film that have been burnt into my brain for years now and it’s a desperate attempt to bring those to life, surrounded by - what I hope are - real feeling relationships.[imgtoken data:2]"And for years now, Brady and myself have been able to keep pouring our hearts out into these short films that feel like significant chapters in my life now. It is a rare kind of privilege to have this sustained level of trust with a collaborator like him."It’s also another beautiful, rare thing to have the trust of such talented collaborators in producers Shelby Manton / Boldly and Adam Maruniak who went into the trenches with me. Cole Graham’s cinematography here is some of my favourite of his work. And the subtle details of Chemistry’s work in the obvious and not-so-obvious was something to marvel at as we finished this film. I’m grateful to everyone who worked on this!"

Canada

Andrew De Zen

Shelby Manton

Adam Maruniak

Stink Films

Cole Graham

Sam Gilling

Bacon X

Chemistry

Electronic

Ambient

Alternative

Alaskan Tapes 'Holocene' by Andrew De Zen

Alaskan Tapes "Holocene"

Thomas James directs a blistering&nbsp;promo for the return of Irish rappers Kneecap.&nbsp;The video for A Liar's Tale is a confrontational, surreal trip through blazing red vignettes, breathless performance and a gritty, textural aesthetic.&nbsp;It's standout work dripping with James' eye for horror-tinged visuals with some stunning imagery - including an eery Zombie Thatcher, decapitations and a intense evocation of Hell.&nbsp;A match made in heaven (or Hell) for director and artist - and an auspicious debut music video from&nbsp;new London-based production company ArtClass.&nbsp;"For me, this needed to be punk, absurd, abrasive and wild," explains James.&nbsp;"An ugly reflection of the world we find ourselves in; utter fucking chaos."We talked around the idea of a ‘carnival of distraction’ - and for me&nbsp;this meant as many ideas as would squeeze into the three minutes, that embody the 2+2=5 hellscape we seem to be surrounded by; a&nbsp;whirlwind of Irish mythology, of satire, of anger; a vehicle for what everyone is witnessing."It’s not often you get to work with a band who have a genuine fire, and a selfless interest in trying to help people. And that for all of us involved, was important."The video became a nightmarish 'fuck you' to the powers that be, with a wry smile and a lubed-up prop selection."[imgtoken data:1][imgtoken data:2][imgtoken data:3]

Ireland

Finn Sullivan

Florence Webb

George Blomiley

Lucy James

Alex Shin

ArtClass

Finley Grover

Jake Newell

Franklin Dow

Giuseppe Favale

Emma Horgan

Juan Minotta

Cameron Sealby

James Tilyard

Robyn Lynch

Dasha Taivas

Becca Lymbourides

Karina Jemelyjanova

Aleix Thyia

Aum Patel

Henry Oliver

Archie Bowers

Harry Sheehan

Faris Hallaq

Justin Du Pre

Punk

Kneecap 'A Liar's Tale' by Thomas James

Kneecap-'A-Liar's-Tale'-by-Thomas-James

Eaves Wilder enters a South London pub on a mission to&nbsp;create havoc&nbsp;in Douglas Reddan's action-packed promo for the rising indie artist.Bursting through the doors of the boozer, Eaves is quickly causing mischief, stealing drinks and starting fights - the epitome of a Hurricane Girl.&nbsp;Combining classic cinematography with&nbsp;frantic, mini-DV footage, the pace never&nbsp;flags. And Eaves' antics provoke the peaceful patrons of the pub to also get feisty - while she gleefully looks on.It's a promo with plenty of attitude - and a great Britpop-flavoured track to boot - to burnish Douglas Reddan's growing reputation.[imgtoken data:1][imgtoken data:2]

Flo Webb

Lola Cookman

Leila Moraes

Olivia McLaughlin

Kelly Kerrigan

Jeffrey Celis

Naoise Kettle

Jack Chambers

Bradley Stearn

Hannah Isobel Busst

Rebecca Parker Quinn

Cam Sander

Secretly Canadian

Eaves Wilder 'Hurricane Girl' by Douglas Reddan

Eaves-Wilder-'Hurricane-Girl'-by-Douglas-Reddan

Noel Paul turns the longing and introspection at the heart of the first release from Mitski's new album into a remarkable video, both breathlessly zany and undeniably chilling.In the video for Where's My Phone? Paul plays against the relatable aspect&nbsp;of the songtitle by making Mitsky the lead character&nbsp;in a gripping anachronistic&nbsp;ghost story. The setting is very Edgar Allan Poe, a house in rural, autumnal New England, with Mitski as the guardian of her younger sister, paranoid about her connecting with any of the stream of strange visitors who descend upon the house.It's the manner that Paul delivers&nbsp;this story - based upon&nbsp;Shirley Jackson’s novel&nbsp;We Have Always Lived in the Castle - which makes it so special. Following the style of his videos for Black Midi and most recently for Geese, events occur at a relentless, disconcerting speed, as if in a dream.The actions of the performers are heightened to appear virtually cartoonish - or resembling the acting in early cinema - and the camera is feverish, moving like a&nbsp;character in the scenario.&nbsp;Mitski herself gives a ferociously strong and committed performance, as the woman driven to mania (and violence)&nbsp;to protect the younger girl. But as it turns out, with very good reason. As in any ghost story, the proof of its quality is in the ending - and this has a very good one.&nbsp;Noel Paul has been directing videos for well over a decade, originally in the duo That Go and then as solo director. It's tempting to say that this is one of the best he has ever made.[imgtoken data:1]&nbsp;[imgtoken data:2]