Director's Representation

Mouthpiece

Joy Crookes' throws herself into a relationship, for better and for worse, in an impressive step into a full-blown narrative video by directing duo Ethan &amp; Tom.In the video for Painkiller, Ethan &amp; Tom put an engagingly&nbsp;fresh spin on the story of a faltering&nbsp;love affair. That is partly down to the structure, but mainly due to how good Joy Crookes is in the role, and her chemistry with her leading man.Shot across Chicago, the film follows Joy through the city as the scales tip - from a happy start through to her waning confidence in the relationship, incorporating performance with the fastmoving narrative and then including Denzel Curry's rap on a karaoke screen.&nbsp;[imgtoken data:1]Joy's&nbsp;brief for the video was specific: the relationship should read as good at the start, and the illusion should come apart as the song does, so by the end the audience has watched a man's charm curdle. Ethan &amp; Tom hold to that arc while keeping the tone light. The song has a tongue-in-cheek quality about someone who keeps being forgiven despite themselves, and the video carries that – it is a sad song shot with a sense of irreverence, fun, and abandon.Part of the success of the video is the casting of Joy's leading man.&nbsp;After a conventional search failed to produce worthy leading-man candidates, Partizan producer Danny Herman street-cast Matt Whipps at The Wormhole Coffee Shop in Chicago shortly before the shoot. His unrehearsed naturalism against Joy's performance lets the relationship's slow collapse register as observed rather than acted.Ultimately this is a confident step-up by Ethan &amp; Tom into narrative territory. It moves between two textures – the immediacy of Chicago and the degraded warmth of tape – without losing its thread. With an excellent cut by editor Liv Ay,&nbsp;it reads as a breakup told in glimpses; funny where it needs to be, and honest about how long it takes to see what was in front of you.&nbsp;

United Kingdom

Ethan & Tom

Partizan

Trim Editing

Joy Crookes ft Denzel Curry 'Painkiller' by Ethan & Tom

Joy Crookes - Painkiller (Official Video) ft. Denzel Curry

Dora Paphides directs a dazzling promo for Logic1000 - Berlin-based Australian DJ/producer Samantha Poulter - featuring&nbsp;Rahim Claude Redcar, aka&nbsp;Christine and the Queens.&nbsp;The video for The Only One is set in a large school hall, featuring a cast of young dancers alongside the two artists.&nbsp;Their presence gives the video a natural connection to the song’s message: the future isn’t some distant abstraction. It’s already here, embodied by a younger generation finding its own voice and figuring out how it wants to move through the world.For Logic1000, the video is significant for another reason. It marks the first fully realised music video she has released, making the collaboration with Paphides and the dancers an important visual extension of the project. It's great, energising work.

Dora Paphides

Kode

Dance

Logic1000 ft Christine And The Queens 'The Only One' by Dora Paphides

Logic1000 - The Only One (ft. Christine and the Queens) [Official Video]

Alice Kong dreams up a very kooky party with an eccentric cast of characters in her&nbsp;hugely enjoyable&nbsp;promo for popular Dutch DJ/producer duo&nbsp;ANOTR.&nbsp;The video for Like It invites us&nbsp;into an increasingly unhinged party, populated by runaway brides, bodybuilders, American football players, double-denim lovers. And a young man slowly learning how to dance.Unfolding like a Lynchian fever dream, the maximalist art direction and dizzying cinematography create a dreamlike vibe throughout. With a cast of characters that just didn't make the cut for Daft Punk's All Around The World video.&nbsp;Lovely stuff.[imgtoken data:1][imgtoken data:2]&nbsp;&nbsp;

Netherlands

Alice Kong

Sam Murray

Disco

ANOTR 'Like It' by Alice Kong

Anotr-'Like-It'-by-Alice-Kong

Ben Galster directs a rousing meditation on body positivity and queer culture, in this dazzling promo for MNEK.&nbsp;The video for MUSCLE MARYS.. draws viewers into a series of stylised vignettes, representing the shared, intimate settings&nbsp;we inhabit and our tendency to compare ourselves with others. All as MNEK delivers a state of mind in the lyrics that&nbsp;spins between lust, longing. self-consciousness and self-acceptance.&nbsp;Unflinching in its depiction of bodies and attraction, through lingering close-ups and eventual catharsis on the dancefloor - and touches of humour - it's an impressive&nbsp;piece of work with a beautiful message. Well worth the watch.[imgtoken data:1]<blockquote>It was fantastic to work with MNEK on something that allowed us to show a more vulnerable side of him.</blockquote>"MUSCLE MARYS.. is a very personal song for MNEK, dealing openly with body dysmorphia, desire and the complicated relationship we can have with our own bodies," says Ben Galster.&nbsp;"It was fantastic to work with him on something that allowed us to show a more vulnerable side of him."We wanted to explore those ideas through the world of queer gym culture, starting quite observationally in the locker room and gym – watching people train, compare themselves and each other, and navigate attraction and self-consciousness. As the film develops, that world becomes increasingly extroverted, eventually breaking out into a euphoric club environment where everyone seems able to completely let go."But I also liked the idea of questioning that liberation. At the end we return to the locker room as MNEK sings, 'or maybe I’m just like them', leaving it open whether that sense of freedom really happened or whether he’s still caught in the same cycle of comparison and vanity."Despite dealing with something quite vulnerable, it was important that the film still felt sexy, playful and celebratory."

Ben Galster

Garage

Alternative

MNEK 'MUSCLE MARYS..' by Ben Galster

MNEK - MUSCLE MARYS.. (Official Video)

Jackson Lee Forsythe directs an atmospheric, violent&nbsp;noir&nbsp;for boundary-blurring Tokyo-based outfit Gliiico.For Don't Eat Don't Sleep, Forsythe creates a neon-drenched world where the main protagonist - one of the de Torres brothers that comprise Gliiico - goes on a murderous rampage. The narrative serves a&nbsp;track than&nbsp;moves between urgency and unease, with its repeated warnings of 'don’t sleep'&nbsp;and 'don’t freak'. It's relentless - and so is he, crossing&nbsp;the city to dispatch numerous unfortunate victims. It is not for the fainthearted.With the fast-moving narrative through Tokyo's seedy underbelly, sense of existential nihilism and grisly violence&nbsp;based around a psychopathic killer, there are echoes of <a href="https://www.promonews.tv/videos/2012/03/12/shoes-time-dance-daniel-wolfe/12198" target="_blank">Daniel Wolfe's classic for Shoes' Time To Dance</a> here. But Forsythe has also created a distinctive vision of the Toyko underworld, a harsh yet alluring underworld.The track comes from Gliiico's newly released album The Veil, out now via Cantora Records.[imgtoken data:1]

Japan

Jackson Lee Forsythe

Academy Films

Gliiico 'Don't Eat Don't Sleep' by Jackson Lee Forsythe

Gliiico-'Don't-Eat-Don't-Sleep'-by-Jackson-Lee-Forsythe

Sabra Binder directs a gripping conceptual promo for singer-songwriter Sabrina Teitelbaum aka Blondshell.&nbsp;The video for Violins finds&nbsp;Teitelbaum in a sealed room,&nbsp;attempting to preserve a delicate, fawn-shaped ice sculpture as it slowly melts.A clash of contemporary art and rousing performance, Binder allows the camera to linger as the concept unfolds, building to an evocative montage at the climax. Brilliant work.&nbsp;

United States

Sabra Binder

Indie

Blondshell 'Violins' by Sabra Binder

Blondshell - Violins (Official Music Video)

Dora Paphides directs an effervescent&nbsp;promo for Rachel&nbsp;Chinouriri.Leaning into cool, metallic hues and Y2K-inspired&nbsp;set builds, the video for One Song Away From Crying reimagines the club bathroom as a liminal sanctuary.Punctuated by offbeat, surreal moments - with heads twisting 360 degrees and strange, flickering blinking - the visual leans into the confusing nature of growing up, and the environments we inhabit&nbsp;as we do so.&nbsp;"This era for Rachel was about maturity - writing about her twenties, growing up," Paphides mentions.&nbsp;"She’s not the teenage girl we’ve seen at house parties anymore. I thought, okay, Rachel’s graduated from house parties, she’s now at the club."And maybe that graduation doesn’t necessarily always feel gorgeous and stunning and fun and Sex and the City, Sometimes your twenties feel endless, confusing, lonely and a little trapping. We wanted to capture that feeling in this video.[imgtoken data:1]"Rachel was amazing - a true one take wonder, we could make an hour long extended cut with all the things we didn’t use. She also brought so much to the video creatively which made the video so much tighter and cooler and creative."It was quite a technical video and tricky to get your head round how it would work especially because we needed to shoot it in record time. Every single person on this crew worked unbelievably hard to make it happen!"

Rachel Chinouriri 'One Song Away From Crying' by Dora Paphides

Rachel Chinouriri - One song away from crying (Official Music Video)

Rianne White directs a striking and sensual promo for Paris Paloma.The video for&nbsp;Pre-Raphaelite leans into the rich, organic aesthetic of the synonymous art style, placing Paloma in a palatial setting&nbsp;surrounded by nature and luxury décor.Boasting an anachronistic, fresh interpretation of the period, it's a dazzling vision -&nbsp;captured in DoP Natasha Duursma's lush cinematography - which is absorbing from start to end.Rianne White says: "This is a film that climbed inside a painting to breathe deeply.&nbsp;It’s been a beautiful experience working with Paris and refracting ideas of art, how we as women look to each other and into each other."It felt mesmeric from the word go. There’s a knowing that goes beyond something that can be simply explained, the mystery of feelings lives here."[imgtoken data:1]&nbsp;

Rianne White

COMPULSORY

Singer-songwriter

Paris Paloma 'Pre-Raphaelite' by Rianne White

Paris Paloma - Pre-Raphaelite [Official Music Video]

Chris Barrett and Luke Taylor’s second video for The Rolling Stones turns the smouldering chemistry between Anya Taylor-Joy and Charles Melton into an intense, abstract dance routine.Barrett and Taylor - the longtime directing partnership previously known collectively as Us, now working under their own names - are back with The Stones following their 2020 video for Scarlet. That was fronted by Paul Mescal, dancing with himself in an empty hotel.&nbsp;Now for Jealous Lover they have created a riveting neo-noir dance piece, shot by Larkin Sieple and choreographed by Wynne Holmes and starring two more A-list actors - who are dancing against each other.&nbsp;In this new Stones song (from album Foreign Tongues) Mick Jagger rekindles the spirit of Some Girls-era Stones in his vocals. And in true Jagger fashion, the lyrics are basically a warning to a partner who asks too many questions. This becomes the jumping off point for the to-and-fro between Taylor-Joy and Melton, whose simmering conflict begins as they arrive at an LA motel. then explodes through the building and forecourt.It's a ferocious and passionate&nbsp;pas de deux - with the actors literally bouncing off each other - which then expands as Taylor-Joy 'splits' into several people, represented by four similarly blonde-haired dancers. That's the additional twist that takes the video to the next level.&nbsp;[imgtoken data:1]"We had the idea very early on," say&nbsp;Barrett and Taylor.&nbsp;"We responded pretty directly to the lyrics and to what Mick had briefed. We loved the idea of creating a very abstract dance that almost felt like a fight. There was no dialogue, just pure expression through movement."This fit with the ethos of the campaign for the new album, as Emily Jeffery, the project's creative director, explains. "The Foreign Tongues campaign has been creatively centred on the universal language of movement, music and expression. For Jealous Lover, the band were clear that dance should be at its heart, built around an incredible lead couple," she says."The challenge was then where does it go after that, how do we connect to the track. We spoke a lot about the complexities of a relationship. Capturing a universal feeling of suddenly not recognising your partner during a disagreement, the different parts of a person you love all the same. Framed through a Pina Bausch-inspired choreography…the guys totally nailed it.“[imgtoken data:2]Barrett&nbsp;and Taylor&nbsp;reveal that their&nbsp;biggest challenge was the lack of time we had with their&nbsp;Taylor-Joy and Melton ahead of the shoot."In a way, it helped that we weren’t creating a traditional piece of choreography," they comment. "We wanted something that felt much more instinctive and emotional. Even so, we still needed to develop the movement beforehand because we only had the two of them together for a single day. "We really lucked out finding Wynn Holmes, our choreographer. Her experience and calm nature made the whole process feel effortless. We knew Anya had a background in dance, so she picked things up incredibly quickly. Charles just has this infectious enthusiasm and such a natural physicality.[imgtoken data:3]"Honestly, the two of them were a dream team. They had such great chemistry that, on a very tight shooting schedule, they made our job a whole lot easier."Kirsten Cruickshank, director of creative production on the Jealous Lover video, adds: "The particular detail that struck me when Chris and Luke took us through their idea for the first time, that gave me that adrenaline rush of knowing 'this is it', was a line from the lyrics pulled out and placed centre page: 'You're clinging like ivy, You're choking a tree' over a motion background of movement and bodies that lucidly represented exactly what we were hoping to achieve.&nbsp;"The whole team at Academy were incredible. Medb, Lexi, Lola and Luke spent a bit longer away from home than they'd originally anticipated but the sense of team never waivered. Chris and Luke were an absolute dream to go on this journey with. Can't thank them enough."&nbsp;&nbsp;

Chris Barrett & Luke Taylor

Vid Price

Rock

The Rolling Stones 'Jealous Lover' by Chris Barrett & Luke Taylor

The Rolling Stones - Jealous Lover (Official Video)

Iggy London directs a suitably glamorous, Soul Train-influenced&nbsp;visual&nbsp;for Sekou's latest retro-soul&nbsp;banger.&nbsp;The vibrant video for Does She Know recreates a Seventies variety show environment, complete with shimmery styling, a glittering discoball and an impassioned&nbsp;live audience. Ideal for a song that evokes that period through its lyrics, production and the singer's performance.And Sekou is effortlessly cool and charismatic, throwing shapes and thriving in the spotlight, in his latest video with Iggy London - a collab that began auspiciously last year with the <a href="https://www.promonews.tv/videos/2025/09/01/sekou-catching-bodies-iggy-london/92352">video for Catching Bodies</a>.Most crucially, its a great showcase for Sekou's surprisingly deep yet deeply soulful voice.&nbsp;So it's further evidence that he is a leading contender among rising British artists to go stellar in the next year or so.[imgtoken data:1]

Iggy London

Park Pictures

Soul

Sekou 'Does She Know' by Iggy London 

Sekou - Does She Know

Erik He's third video for Irish DJ/producer Jazzy continues the stylish sensibility and use of subtle VFX that distinguishes the previous two for On A Wave and Invisible. And arguably there's a tribute to Jamiroquai's Virtual Insanity in&nbsp;her collab with Calvin Harris.&nbsp;Responding to the track's warmth and optimism, Erik He adopts a lighter visual touch than previously for Satisfy. Natural light, fluid camera movement and open architectural spaces create an effortless sense of movement throughout the film. An understated performance by Jazzy allows the music's uplifting energy to take centre stage.And the furniture is also occasionally moving across the floor within the space - reminiscent of Virtual Insanity. The result is a visual that feels as buoyant and expansive as the track itself.&nbsp;

Erik He

Electronic

Calvin Harris, Jazzy 'Satisfy' by Erik He

Calvin Harris, Jazzy - Satisfy (Official Visualiser)

The second of a trio of videos for Jazzy by multidisciplinary artist-turned-director Erik He finds the Irish DJ/producer in a cool bar crowded with invisible people - apart from one furious-looking older lady - and then on a dancefloor, packed with real people.Following on from the video for On A Wave (Jazzy's collab with East End Dubs), Erik He's&nbsp;video for Invisible (her collab with Chris Lorenzo) has similarly stylish, designer-led aesthetic with an&nbsp;additional side order of surrealism and subtle VFX - but this one brings Jazzy more centre-stage, to deliver her vocal performance.The&nbsp;end result looks absolutely great and demands you sit up and take notice of both the artist and the director.With a background in art practice spanning&nbsp;sculpture, performance and moving image, under He's direction&nbsp;ordinary social spaces become subtly uncanny, as anonymous, headless figures populate the frame, transforming familiar environments into psychological landscapes.Rather than relying on spectacle, restrained visual effects, atmospheric lighting, and carefully composed imagery create a world that reflects the song's emotional undercurrent, balancing performance with understated surrealism.It's another example of the skill and instinct that the director, who recently signed to Partizan, brings to the medium. One aspect is in providing an intriguing&nbsp;showcase for the artist and her music, giving her every chance&nbsp;to make a big step forward. And as there is a third one on its way, for Jazzy's with Calvin Harris, that next step seems virtually guaranteed.&nbsp;&nbsp;"Working with Jazzy and her team has been incredibly rewarding," he says about the collaboration.&nbsp;"Every project presented a different creative challenge, but there was always a shared willingness to experiment and find the best solution. Seeing that creative relationship evolve across three very different films has been one of the most rewarding parts of the process."[imgtoken data:1]

Ireland

Anchous

Jazzy ft Chris Lorenzo 'Invisible' by Erik He

Jazzy & Chris Lorenzo - Invisible

Dora Paphides channels heroines of classic literature and TV in her latest video for her sister Eaves Wilder.For enjoyably Britpop-influenced The Great Plains, Dora and Eavie repair to open countryside, for some energetic cavorting and horseplay. In doing so, the film&nbsp;addresses aspects of the sisters' relationship - and we discover that Eavie is absolutely fine having a muddy face.Dora says it was a special project for all sorts of reasons, including the fact that they are sisters. "This video looks back at us growing up," she confirms. "At Eaves feeling too tomboy for the games I wanted to play, and figuring out where she fit."It’s about that push and pull between the 'feminine'&nbsp;and 'masculine'&nbsp;parts of yourself, in quite a traditional way - whilst Eavie also being a rockstar."We spent a while looking at Pride and Prejudice, Little Women (all versions), Wuthering Heights (all versions), Little House On The Prairie, to create a new, hybrid world - a space where girlhood and sisterhood lives between what’s expected of girls and women."

The Quarry

Eaves Wilder 'The Great Plains' by Dora Paphides 

Eaves Wilder - The Great Plains (Official Video)

Lambrini Girls make a deal with the Devil himself in Harv Frost's first video for the feisty Brighton punk duo.&nbsp;The promo for Cult of Celebrity launches the next phase in the Girls' progress&nbsp;with a stylish visual sensibility built around impassioned performance set-ups that put the power and songwriting front and centre - plus&nbsp;a vivid cameo of a Satanic creature, usually seen in striking sillhouette.It's tight and tough - the mix of clever art direction with eerie atmosphere and a good dose of surrealism create a vaguely Lynchian feel -&nbsp;and the theme works with the typically astute and acerbic lyrics&nbsp;about the price of rock 'n roll fame.&nbsp;A rewarding&nbsp;introduction to a world that Harv Frost, their new creative director, is building around the Lambrini Girls."With this video, it was about tackling a very topical and equally sensitive subject matter," she explains.&nbsp;"The band always use their platform and songwriting to speak on different issues, and always deliver it so eloquently. This video was about getting a little bit literal with the visuals, and bringing their words to life."On this video I collaborated with DP Jack Hamilton for the first time, which was such a dream. He brought an editorial flare to their punk energy, which really adds and elevates their visual world I think and provides a great context for the message to exist within. [It's]&nbsp;the first video in my creative direction and collaboration with Lambrini Girls, and I’m looking forward to further fleshing out a visual world for them."[imgtoken data:1][imgtoken data:2]

Harv Frost

Punk rock

Lambrini Girls 'Cult Of Celebrity' by Harv Frost

Lambrini Girls - Cult of Celebrity (Official Video)

<h3>He's a leading actor in House Of The Dragon, The Serpent and recent HBO drama Task - and also now proving himself as a director, making two impressive music videos and recently signing to Partizan. Fabien explains how moving behind the camera is a family affair and reveals the legendary band he would love to work with.&nbsp;</h3>What’s your background? Where did you grow up?FABIEN FRANKEL: I grew up in London. My mum is French Italian and my dad is Iraqi Russian, though his family emigrated to the UK in the 1940s and settled in the East End of London. So I grew up in London, but that’s my heritage.When did you start getting into films as a director or in another role?FF: I got into films as an actor. I trained as an actor and that’s how I got into films initially. I also grew up in a very cinephile family. My family really love cinema, so it was always around.What was the first film you made where you felt this could be a career move?FF: I was making a TV show as an actor in Bangkok and I bought a Super 8mm camera in New York. It was the first gift I ever bought myself from my first acting job. <a href="https://www.imdb.com/it/title/tt7985576/?ref_=nm_flmg_job_1_accord_2_cdt_t_7" target="_blank">I brought it with me to Bangkok</a>, where I was doing another acting job, and I shot a bunch of Super 8 footage out there. I then cut it together to Little Red Rooster by The Rolling Stones. I suppose it was my first kind of music video.<blockquote>I love the process of bringing different people together when you’re making films.</blockquote>Can you tell us about your first music video and how it turned out?FF: My first music video was for some close friends of mine who started a band called Memory of Speke. I had heard demos from what would become their first release, including a song called Wife Once, and I pitched them an idea to make a 17th century Restoration style music video. They went for it.[vidtoken data:0]Where do you draw inspiration for your own work?FF: Cinema is the obvious answer. That’s been my biggest inspiration, stealing from great filmmakers and trying to find what that becomes in my own work.There’s also definitely a love of masks in what I do. I’m not entirely sure where that comes from, but whenever I come up with an idea there often seems to be something involving people being masked in some way. Both of my music videos have had elements of that. There’s something about the sort of primal dance mask feeling that I seem drawn to.[imgtoken data:1]Above: Fabien (right) with Mark Ruffalo in HBO drama&nbsp;'Task'.What has been the most creatively rewarding non-music project of the past year or so?FF: I made a TV show called Task for HBO. I’m really proud of it and I had a great time making that show.What aspect of the job do you enjoy the most?FF: Working with my brother [Max Mark Frankel, producer of his videos for&nbsp;Memory of Speke and Peter Zummo] is definitely one of the things I enjoy most about my work. More generally, I love the process of bringing different people together when you’re making films. Finding people whose energy either matches yours or raises you up so that what you make in the end feels like a shared vision.[vidtoken data:1]Can you tell us about your next project?FF: I can’t say too much, but I'm making an independent movie for a really exciting studio and we’re about to start filming.Which artist or band would you most like to make a music video for?FF: From a nostalgic point of view, making something for The Rolling Stones would be incredible. Their music runs through so many of the films I love, especially that iconic Scorsese era. For the kid in me, that would be a massive deal.Career-wise, where do you hope to be in five years’ time?FF: My dream would be to direct a film. If in the next five years I could have directed my first feature film, I’d feel really proud of that.• Fabien Frankel is signed to Partizan, represented for music videos by Mouthpiece.

ONE TO WATCH: Fabien Frankel

Memory of Speke - Wife Once

The Tape Is Chill by Peter Zummo Official Music Video

Erik He creates a very cool futuristic vision for the catchy collaboration between Irish dance artist&nbsp;Jazzy and&nbsp;London-based DJ and producer East End Dubs.In the visual artist's first project since signing to Partizan, He has taken a counter-intuitive approach to the uptempo&nbsp;On A Wave. His work&nbsp;blends sculpture, performance and moving image into striking contemporary compositions, and this sensibility runs through the film’s clean, stylised design.The pair are performing in what appears to be a gallery space - it was shot in&nbsp;Wayne McGregor’s Hackney studio - captured&nbsp;in stylish compositions. The video leans into a cool, silver-toned palette and a minimalist set design to create a refined, electronic visual world that mirrors the track’s driving pulse. This sets the scene, then He gradually&nbsp;introduces subtle elements of VFX as the track's momentum builds.Jazzy, the Dublin-born singer-songwriter behind dance hits including Giving Me and collaborations with Belters Only and Sonny Fodera, joins forces here with East End Dubs, a leading figure in the UK’s minimal tech-house scene who emerged from East London’s underground in the early 2010s.&nbsp;The result is a real statement for both the musicians and Erik He; a stripped-back but striking visual world that lets the track’s hypnotic energy do the talking.[imgtoken data:1][imgtoken data:2]

Jazzy x East End Dubs 'On A Wave' by Erik He

Jazzy x East End Dubs - On a Wave

BAFTA-nominated animator Honor Price has directed a&nbsp;stop-motion epic for two songs from the Icelandic band Of Monsters and Men's comeback album.Price's nine-minute film was created for the two-part album sequence The Block and Mouse Parade from All Is Love and Pain in the Mouse Parade, released last October.The film unfolds as two parallel narratives occupying the same space. Above ground, a solitary mouse-like figure runs endlessly in a cage before tumbling into a vast wilderness. What follows is a relentless climb up a mountainous rock face; a physical and emotional ascent marked by isolation and strain.[imgtoken data:1]As the track transitions into Mouse Parade, the camera descends beneath the floorboards into a hidden underground city. Where the figure above is disconnected and alone, this subterranean community moves as one - tightly bound, resilient, and interdependent.Honor Price says that she was drawn to the emotional duality in the songs. “I was thrilled to create this two-part film for Of Monsters and Men - building two parallel worlds through stop motion, puppetry, and layered multiplane sets."Rendered in tactile stop-motion, the film leans into texture, scale, and atmosphere. Humans appear strangely mouse-like, while the puppeted mice feel deeply human, subtly inverting perspective. The result is eerie, intimate and quietly devastating - a meditation on isolation, belonging and the fragile light we carry for one another.“We were excited to make the bulk of the entire video by hand using traditional handcrafted animation methods," says Price. "Specifically stop-motion, puppetry, and multiplane. By layering real sets on glass and compositing rod puppets into them, we created a fully tactile, dimensional world that we think evokes the themes and emotion of the tracks.”

Iceland

Honor Price

Laura Taylor

Of Monsters and Men 'The Block' & 'Mouse Parade' by Honor Price

Of Monsters and Men - 'The Block' & 'Mouse Parade'

Chloe Qisha is out to get her a man - but she's going to have some fun with her girls first - in Iris Luz's effervescent video for YDH.Luz gives the concept of&nbsp;medieval courtly love a thoroughly modern makeover, as Chloe and fellow maidens in costume go out for the night to to find some knights. And when they do, head back to the hotel.In fact, in terms of steaminess and innuendo, the song does the heavy lifting. The video largely focusses on the fun - and on Chloe's star quality. And it makes that case very well.[imgtoken data:1]

Iris Luz

Chloe Qisha 'YDH' by Iris Luz

Chloe-Qisha-'Ydh'-by-Iris-Luz

Partizan has announced that Danny Herman is now heading it's Music Video division, while the music video roster at the London-based production company is expanding with the addition of five distinctive new directors: Ronan Day-Lewis, Gee Small, Erik He, Fabien Frankel and Ellius Grace.Herman has taken the reins of music videos at Partizan, while continuing to shape standout work across the company’s commercials slate. Nominated for Best Producer at the UKMVA 2023 and the recipient of numerous awards and nominations for his contributions to the music video landscape, Herman steps into this dual role as Partizan deepens its focus on music-driven visual culture and the next generation of filmmaking talent.The five new signings to the company's music video roster span a range of visual styles and creative disciplines, while sharing a focus on&nbsp;original ideas, precise execution, and a collaborative approach to working with artists and labels. Their work collectively pushes form and format while remaining grounded in strong visual identity and performance-led storytelling.<blockquote>Bringing Fabien, Gee, Ronan, Erik and Ellius into the fold fills my heart with joy -&nbsp;five distinct voices whose talent knows no boundaries.</blockquote><a href="https://partizan.com/director/ronan-day-lewis/music-content/" target="_blank">Ronan Day-Lewis</a> is a&nbsp;painter turned filmmaker, and fresh from the release of his debut feature Anemone, his work blends visual poetry with emotional precision. He's marked&nbsp;out as a rare multidisciplinary talent with a deeply cinematic eye. Dublin-based director and photographer <a href="https://partizan.com/director/ellius-grace/music-content/" target="_blank">Ellius Grace</a> boasts a refined cinematic style that is rooted in intimate portraiture and atmospheric world-building, which has made him one of Ireland’s most exciting creative voices. His work spans powerful collaborations with cultural icons, including Shane MacGowan, Sinéad O’Connor, Lankum, and even President Michael D. Higgins, demonstrating a rare ability to capture both the soul and the story of those he photographs and films.[vidtoken data:0] <a href="https://partizan.com/director/gee-small/music-content/" target="_blank">Gee Small</a> is a London-based director whose work is shaped by a background in acting, creative direction, and talent development. She has directed music videos for the likes of Hey Baby and the short film Baby, bringing an instinctive, performance-led approach to her storytelling. Founder of the modelling agency Gee Small Faces, her approach to storytelling is grounded in authenticity and presence. <a href="https://partizan.com/director/erik-he/music-content/" target="_blank">Erik He</a> is a&nbsp;visual artist shaped by a globally diverse upbringing across Asia, North America and Europe. Erik’s work brings together sculpture, performance and moving image to create a bold, contemporary visual language. <a href="https://partizan.com/director/fabien-frankel/music-content/" target="_blank">Fabien Frankel</a> is an actor and director whose international screen work informs a distinctive voice behind the camera. Alongside his brother Max, Fabien brings a storytelling instinct rooted in character, emotional nuance and atmosphere, expanding into an exciting directorial practice we’re thrilled to support.Each filmmaker brings a unique creative language and a strong commitment to craft, further strengthening Partizan’s position at the forefront of music video storytelling and visual innovation. Together, the expanded roster and new leadership structure mark a continued evolution of Partizan’s UK music video offering, with further projects and collaborations to be announced in the coming months.All the newly-signed directors and existing ones on Partizan's UK roster are represented for music videos by <a href="https://www.mouthpiecerep.me/">Claire Stubbs at Mouthpiece</a>.&nbsp;'I’m so excited to be back steering music videos especially at my own stable Partizan where music videos are the bedrock of everything we’re about," says Danny Herman."Bringing Fabien, Gee, Ronan, Erik and Ellius into the fold fills my heart with joy -&nbsp;five distinct voices whose talent knows no boundaries, and who sit perfectly alongside the brilliant directors already on our roster."• Partizan new music video directors roster&nbsp;<a href="https://partizan.com/directors/music-content" target="_blank">here</a>

Danny Herman

Ellius Grace

Danny Herman leads Partizan's Music Video division - and adds five new directors

Partizan Fresh Music Video Roster

Harv Frost directs The Travelling Show for Manchester indie rock band Picture Parlour, part of the filmmaker's creative direction for the entire campaign, covering&nbsp;multiple music videos, visualisers, stills, artwork and merchandise.The video is a showcase of performance and narrative, interwoven in an abstract yet inspired way.&nbsp;With the campaign unfolding across different formats, it's&nbsp;a glimpse into the world Frost and the band have created."Working with Picture Parlour has been an exercise of true creative expression from our first meeting," says Harv Frost. "Being along for the ride on this campaign, and working alongside them in bringing the visual world of the record to life was a truly rewarding process."Our first video in the campaign, <a href="https://www.promonews.tv/videos/2025/05/06/picture-parlour-who%E2%80%99s-there-love-without-you-harv-frost/90934" target="_blank">Who’s There To Love Without You?</a>,&nbsp;is a love letter to Northern Soul and the venues that birthed the subculture that are now lost in time. {That] was an inspiring launching off point of what would become an almost seven&nbsp;month long friendship and collaboration.[imgtoken data:1]"Being a part of the campaign more holistically, right down to the album sleeve, press photos and the conceptual world that the album takes place in has been incredibly gratifying. The second video in the campaign for <a href="https://www.youtube.com/watch?v=P6lnvCfsod8" target="_blank">Cielo Drive</a>&nbsp;had me tag along on the bands writing retreat in Paris to self shoot them on Super 8 lurking streets, and I got to try my hand at shooting and operating Super 8 for the first time which was slightly nerve-wracking as I was fully expecting it all to be over or under exposed and we would have nothing to edit. Thankfully it turned out gorgeous, and was lovingly edited by Eden Read."The final video in the campaign is for me, by far a favourite. It’s a deeply personal track for Kate (the lead singer), and required a sensitive approach. For me, I set out with the goal of creating a character study, a video that focused on performance and ‘acting’ than I’ve ever done before."My overall goal being ‘I want to make people weep by the end of it’, and I certainly cried so that’s a win if you ask me. This video was a passion project in the truest sense, in which Kate and I had to really trust our relationship and lean on each other to bring out the performance. The first video and the last are spiritual sequels to one and other, with plot points, characters and emotional beats carried on from the first."

Picture Parlour 'The Travelling Show' by Harv Frost

Picture Parlour - The Travelling Show

Harv Frost's latest for Brighton band Black Honey plays with nostalgia using stylized stock footage and performance cutaways to build the illusion of an old-time TV broadcast.In the Shallow video the alt/indie rock outfit leans into the retro aesthetic while letting the rough edges show.[imgtoken data:1]

Bad Bones Films

Black Honey 'Shallow' by Harv Frost

Black-Honey-'Shallow'-by-Harv-Frost

<h3>The KODE director has spent the past few months with Oasis on their spectacularly successful comeback tour - mostly pointing his camera at&nbsp;the fans. It's not only led to a remarkable document of the biggest pop culture moment of the year, it's also elevated what is possible in the live concert space.</h3>A remarkable year for filmmaker Daniel Broadley began with him working with one of the UK's biggest artists, Sam Fender, on his latest stadium tour&nbsp;in support of his new album. Capturing the Fender live shows was a big project - but things were about to&nbsp;get much bigger.&nbsp;Broadley's creative partnership with Fender over the past two years caught the attention of the management team putting together the biggest comeback tour for a long time... perhaps of all time. Oasis came calling and Broadley was then able to make a wonderful contribution to what has become the outstanding pop cultural phenomenon of the year.&nbsp;On one level, Broadley's work on the Oasis Live '25 tour could be simply described as social media content, as its purpose is to exist on those platforms. That was certainly his primary objective of his and his team's main role on the tour: creating short recap videos from each show from a combination of band footage and audience moments that they have taken before and during the concert, which has then been posted on <a href="https://www.instagram.com/oasis/?hl=en" target="_blank">the band's Instagram</a> and elsewhere.&nbsp;But much as the reaction of fans to the Oasis reunion has transcended most people's expectations, the footage taken by Broadley and his colleagues have also transcended their original function. An understanding that the fan experience was central to this tour has led to them becoming pretty much the sole focus of an intriguing offshoot of the recap videos - - the video 'postcards' from the tour.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133796882?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #2 - Biblical"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>With a range of mobile camera equipment and a superb range of lenses,&nbsp;Broadley and photographer Joshua Halling and their tiny crew, took a conceptual approach to shooting their footage, including a number of locked-off shots from a series of locations both in and around the stadium where the Oasis show was taking place. And the footage taken on those cameras has become the source of the 'postcards'. With each one being several seconds in length - as opposed to being a part of a fast cutting montage of action - you are invited into a much more intimate moment of the fan experience.&nbsp;In a&nbsp;way, it's quite simple, but it's also groundbreaking. And it's both artistic statement and genuine visual document of the impact of the Oasis comeback upon the fans attending the shows. It's powerful enough to transcend the platforms for which it was intended - but it's also been hugely successful on those platforms, fuelling even greater&nbsp;buzz around the tour, amassing millions of organic views in the process.&nbsp;The Oasis Live '25 video postcards are&nbsp;immersive, contemporary, and deeply human.&nbsp; They provide another level of&nbsp;emotional connection with the band. They are also highly cinematic, capturing the energy, excitement, scale and moments of intimacy at these shows.&nbsp;As such, they are all of a piece with great concert films, going all the way back to&nbsp;Woodstock. But arguably they have elevated the visual language of live music coverage in the social media era.&nbsp;We spoke to Dan Broadley about how this project started, how they find their subjects - before, during and after the show&nbsp;- and ask him to reveal his absolute favourite Oasis Live '25 postcard&nbsp;so far.[imgtoken data:1]&nbsp;Filmmakers on tour - with Oasis: above, left to right: Jay Davidson, Daniel Broadley, Joshua Halling.<blockquote>I cannot begin to describe the mixture of adrenaline, anxiety and anticipation [before the first show].</blockquote>Can you explain how you became involved in the the idea of ‘postcards’ from the Oasis 2025 shows came about?&nbsp;DANIEL BROADLEY: The initial conversations between myself, Joshua Halling, the lead photographer,&nbsp;and the label and management were mostly about how we shift the focus from the band itself and onto the fans. We knew there would be a story about the generational shift between the people who’d followed the band up until their split, and then a new generation of fans who’d found them during the hiatus.But beyond that, there was this idea that every fan would be having their own unique experience, whether squashed against the front barrier, dancing at the back of the room or even sitting outside the venue whilst the show went on.The term ‘Postcards’ was coined some years previous during a viral trend on Instagram and TikTok for travel/tourism films where the camera would remain static whilst capturing an uninterrupted candid moment. I first remember seeing filmmaker <a href="https://www.instagram.com/daiki.shino/?hl=en" target="_blank">Daiki Shinomiya</a> do this.However, it wasn’t something that I’d seen done a lot in music. Editing seems to have gotten faster and more intense in recent years, with the rise of film emulation techniques and the inclusion of flash-frame cuts&nbsp;and busy sound design elements. At the start of 2025 slowing down and holding a frame was certainly not a popular choice for live music recaps.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133795856?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #3- Burger Van"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>&nbsp;Was there a particular inspiration for this idea, or a reference point?DB: There are parallels between football (in fact any major sporting event) and the Oasis comeback shows. A lot of our inspiration came from that. Josh had actually done some really beautiful photo-doc work with Manchester United in the months leading up to the tour, shining a light on the different generations of fans, which went into our original pitch deck, as well as excerpts from <a href="https://www.elliottdavenport.com/back-on-our-perch" target="_blank">Elliott Davenport’s exceptional book Back On Our Perch</a><a href="https://www.elliottdavenport.com/back-on-our-perch" target="_blank">,</a>&nbsp;where he followed a Liverpool FC victory parade through the city, intimately capturing the vibrant chaos through a lens.Our very own Harriet Bols (photographer on the Oasis tour) shared with us a series of ‘Postcards’ she’d shot alongside a team at Parklife festival the year previous, which confirmed the concept would work in a musical setting. And&nbsp;<a href="https://www.instagram.com/charlottealex_/?hl=en" target="_blank">Charlotte Alex</a> is another brilliant photographer who’s recently moved into video whilst touring with Sigrid. She brings a stillness to her work that was a big inspiration. As well as filmmaker <a href="https://www.instagram.com/willwarr/?hl=en" target="_blank">Will Warr</a> and his stunning locked-off vignettes of his family.Lastly the work that Brendan Yates and Pat McRory created for their own band <a href="https://www.youtube.com/channel/UCP5O_Y-RbtVJUEv4uLP-O8A" target="_blank">Turnstile</a> proved that just because the songs carry the sonics of an earthquake doesn’t mean the accompanying visuals have to as well. A creative decision that Trevor Roberts then carried over into their tour visuals.[imgtoken data:2]<blockquote>I knew... this thing was going to be a runaway freight train.&nbsp;</blockquote>Were you surprised by the passion and excitement of the fans and the emotion expressed by them during the shows, or was that anticipated?&nbsp; (and why you did them in the first place?)DB: Honestly, no-one knew what was going to happen before this tour started. There were so many unknowns, because Oasis hadn’t played a show since 2009. The world has changed since then and there was nothing to gauge this on. What does an Oasis concert look like in 2025? Would fans cry? Or fight? Both? Neither?I knew deep down that no matter how much we planned (which we did meticulously) this thing was going to be a runaway freight train without any tracks. We just needed to hang on tight and make sure we were ready to deviate from the original plan at a moment’s notice if need be.Was the prime motivation to create excellent content for social platforms, or to do an alternative form of documentation of the Oasis reunion, to sit alongside a more conventional capturing of the live shows?DB: We were always hired to solely lead the social media content team. That’s been our key goal from the start and continues to be our primary purpose as the tour’s gone on.Oasis left the world in a time before social media became what it is now, and there were a lot of questions about how we make sure that when they show up on all these platforms the content doesn’t feel like a legacy band trying to ‘fit in’. It needed to be bold, unique and in its own lane.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133798106?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #4 - Fan on Shoulders"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>&nbsp;How did you approach the project in terms of manpower, cameras and positioning at the concerts? (And how many concerts on the tour did you cover?)DB: As with any project, budget dictates manpower. We worked out that having a core team of four - lead by myself on the video front and Joshua Halling on the photo front - would give us enough coverage to capture what we needed at each show, with the option of adding one more local person to each of our teams for key shows that needed more coverage for press or TV.Our core team consists of myself and Jay Davison on video, and Joshua Halling and Harriet Bols on photography.Were your team briefed to find stories among the fans, or during moments with the band?DB: The goal is to always be reactive. If we brief too hard then each show becomes a ticklist, and extraordinary or unpredictable moments get missed. As the tour has progressed and the set list ingrained in our heads we are able to instinctively position ourselves in the right place at the right time for key moments from the band, whilst keeping another eye on what’s going on in the room.[imgtoken data:3]<blockquote>The postcards concept was new to [Jay and myself]....&nbsp;It feels like being back at film school again.</blockquote>Did you shoot yourself, or were you directing, like a live concert director, getting the camera feeds coming back to you during the show?DB: I direct, shoot, edit and grade, which means I put a lot of trust in my collaborators. Fortunately Jay is also a talented multi-disciplinary filmmaker, which means I can confidently delegate parts of the project to him.We work very well together. In many ways we have similar sensibilities and style, but the postcards concept was new to us both, and navigating that together has been a lot of fun. It feels like being back at film school again.What were your own favourite moments whilst shooting the shows? And which are your favourite postcards?DB: My favourite moment was probably before the show even started. Walking up the service ramp towards the stage at the first show in Cardiff, the same ramp that thirty minutes later Oasis would walk up, in what will arguably be remembered as the biggest musical comeback in history, whilst Richard Ashcroft’s Bittersweet Symphony ricocheted off of the walls as he finished his support set... that's a moment I’ll carry with me until the day I die. I cannot even begin to describe the mixture of adrenaline, anxiety and anticipation that I was feeling right there and then.And which are your favourite postcards?DB: My favourite postcard has to be the one we’ve now dubbed as ‘The crying man’. It was during a show in Chicago. I saw Harrie [Bols] fixating on something down by the front barrier during Don’t Look Back In Anger. I think she may have even summoned me to come and capture it alongside her.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133794066?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #1 - The Crying Man"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>[It was] A man crying his heart out during the chorus of the song. It felt like he embodied every single Oasis fan and how they were feeling. He was so in the moment he didn’t even notice me filming which meant I was able to capture an incredibly intimate portrait of his experience. It left me in tears, it felt like all his pain was pouring out of him as he screamed the lyrics.I was actually lucky enough to meet him and tell him what that shot meant to me at a later gig. His name is Ian Young, and I feel like he’s now become the mascot for the Oasis Live ‘25 tour.<blockquote>One of the bitterest pills to swallow is the impermanence of social media content.</blockquote>The postcards made a huge impact on socials. Was there a quick turnaround between shooting them and posting them, or did you have an amount of time to curate the material you’d captured at a show?DB: Though our team on the ground is led by myself and Joshua, we are incredibly lucky to be led ourselves by the head of creative at Ignition - Sarah Mansfield. Sarah is the reason we were picked for this job, she saw something in our work that others might have missed. She has been our guiding light since the tour began, championing our creative decisions, fighting for our vision. Noneof this would look the way it looks without her. She curates all the postcards for the various social channels.The turnaround is usually dictated by the amount of time before the next city/country. We try to get content out before the next block starts so it’s as fresh as possible. Sometimes we have a few days, sometimes less than one.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133797623?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #5 - Facetime"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>&nbsp;It's been an amazing campaign, but by its nature a social campaign is something that exists for a while and then disappears. So is there a more permanent place where this remarkable document will live on. In fact... live forever?DB: I think one of the bitterest pills to swallow is the impermanence of social media content. We try not to let that dictate the quality of what we are creating. I strive to make each recap edit in the same way I would approach a music video, or commercial - albeit with less resources and faster turnarounds.Hopefully there’s a place for the content to live once the tour has finished that will allow people to continue to enjoy it. However, if its purpose was to be fleeting and momentary then so be it. The experience is more important to me than the souvenir.• Daniel Broadley is a director at <a href="https://kodemedia.com/" target="_blank">KODE</a>, and he's represented for music videos by <a href="https://www.mouthpiecerep.me/" target="_blank">Claire Stubbs at Mouthpiece</a>. Check out the continuing stream of recap videos and video postcards on the <a href="https://www.instagram.com/oasis/?hl=en" target="_blank">Oasis Instagram</a>.

Daniel Broadley

'No-one knew what would happen before this tour started.' | Daniel Broadley on creating video postcards for Oasis Live '25

Dora Paphides directs an evocative, studio-based&nbsp;promo for Perrie.&nbsp;The video for Rocket Scientist is a stripped-back masterclass in minimalism, carried by Perrie's emotional performance, inspired&nbsp;styling and water-based vignettes.&nbsp;DoP Adam Singodia's use of&nbsp;contrast and shadow adds a textural feel to the video, creating a raw and intimate aesthetic.&nbsp;

Perrie 'Rocket Scientist' by Dora Paphides

Perrie - Rocket Scientist (Official Video)

Tyrus directs a coruscating, atmospheric promo for dance&nbsp;producer Sub Focus, featuring Fireboy DML and Irah.&nbsp;The video for Original Don is a quick-cut black and white promo, with enigmatic performance setups and feverish dance moves taking centre stage.&nbsp;Keeping things slick and simple, everything takes place in a large industrial space, with strobing lights and projections blurring together in frantic harmony.&nbsp;A rousing visual to get you off your seat.[imgtoken data:1][imgtoken data:2]&nbsp;

Tyrus

Sub Focus Ft. Fireboy DML And Irah 'Original Don' by Tyrus

Sub-Focus-Ft.-Fireboy-Dml-And-Irah-'Original-Don'-by-Tyrus

The Rolling Stones' incredible history comes to life in Camille Boumans' fabulous mixed-media promo for The Stones's rollicking cover version of Shirley &amp; Company's Shame, Shame, Shame.&nbsp;The video is an explosion&nbsp;of The Stones' greatest moments, a vibrant archive of vintage clips and stills, unfolding through the&nbsp;pages of a&nbsp;packed scrapbook. It's a concept which allows Boumans to deliver a huge amount of information - vintage footage, lines of lyrics,&nbsp;a miscellany of textures - with lots of imaginative graphic ideas.&nbsp;It also feels hand-crafted, like it was stitched together with bits and pieces from the Stones archive with a lot of love - and as its a bit rough around the edges, with pure&nbsp;rock ’n’ roll attitude.[imgtoken data:1][imgtoken data:2][imgtoken data:3]

Camille Boumans

Semera Khan

Studio RM

The Rolling Stones 'Shame, Shame, Shame' by Camille Boumans

The-Rolling-Stones-'Shame,-Shame,-Shame'-by-Camille-Boumans

Fred Rowson teams up with the evergreen Mael Brothers for the latest release in Sparks'&nbsp;50-plus year career, with a video featuring Rebecca Lucy Taylor - aka Self Esteem - and a steamroller.For Porcupine, a characteristically quirky Sparks song about a woman with a rather spiky temperament, Rebecca is&nbsp;cast as a femme fatale harbouring a vendetta, with keys to the very latest in steamroller technology.&nbsp;Cue low-speed thrills as Russell and Ron are faced with a vengeful Rebecca at the wheel of the&nbsp;Lamborghini of steamrollers.There can only be one possible outcome...&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;

Fred Rowson

Sparks 'Porcupine' by Fred Rowson 

Sparks-'Porcupine'-by-Fred-Rowson

Iggy London returns to music videos with an effervescent affair for rising R&amp;B star&nbsp;Sekou.The delightful video for Catching Bodies features the young British singer strutting their stuff&nbsp;through a London estate&nbsp;on a hot summer's day, through the buzz of everyday life - and performing mostly to the camera on a shot tracking along the street.Iggy provides a uplifting sense of the joy in a sizzling summer's day in the city, elevated by the colour palette of Peter Bishop's cinematography and Tim Smith's grade.&nbsp;Above all, it's a vehicle for Sekou's distinctive personality and a song that should keep the summer vibes going for a while longer.[imgtoken data:1]

Sekou 'Catching Bodies' by Iggy London

Sekou-'Catching-Bodies'-by-Iggy-London

Jake Erland's latest for&nbsp;Olivia Dean continues in the uplifting musical theatre atmosphere&nbsp;of his previous videos for the singer's soon-to-be-released new album, The Art Of Loving - a smooth and smart combination of performance and craft.In fact, the video for Man I Need takes the 'backstage' ambience of Olivia's video for <a href="https://www.promonews.tv/videos/2025/07/08/olivia-dean-nice-each-other-jake-erland/91763" target="_blank">Nice To Each Other</a> and brings it up a notch in sophistication. Olivia once again moves between scenes courtesy of&nbsp;theatrical devices and in-camera sleight of hand, but the transitions and scenery has a more front-of-house feel.And once again, Olivia Dean provides an on-screen warmth and relatability that has been a feature of her videos from the start. A great addition to the successful&nbsp;video campaign for her much-anticipated new album.&nbsp;

Jake Erland

Olivia Dean 'Man I Need' by Jake Erland

Olivia-Dean-'Man-I-Need'-by-Jake-Erland

Dora Paphides is back with another pop extravaganza - this time for Perrie's new track, putting their own&nbsp;twist on some classic chick-flick movies.&nbsp;Featuring the song's co-writer Nina Nesbitt, the&nbsp;video for If He Wanted To He Would is a mash-up of the likes of&nbsp;Mean Girls, The Holiday, Pretty Woman, Love Actually - or an alternative ending to&nbsp;The Princess Diaries, where instead of happily-ever-after, Perrie and Nina decided to storm the palace and wreak havoc.[imgtoken data:1]It begins with Perrie driving to the big country house, where Nina watches her ex-boyfriend (Jack Brett Anderson) plead for forgiveness for his misdeeds via the medium of written placards ("Sorry I Slept With Your Sister", etc)&nbsp;in the style of the famous scene in Love Actually.&nbsp;And then Perrie's car runs him over.While Perrie&nbsp;and Nina celebrate their friendship&nbsp;in the big house with some pampering and dressing up, the vain ex continues to provide the laughs through his hapless attempts to gain Nina's attention - and eventually gets more comeuppance from Perrie. A strong concept that's impressively executed and a&nbsp;fitting accompaniment to the track.&nbsp;[imgtoken data:2]"When writing this, I really wanted to celebrate female friendship - the power of platonic love and the joy of showing up for your mates," explains Paphides.&nbsp;"For me, directing is about holding up a visual mirror to the song, and this track is overflowing with joy. Perrie came in with brilliant ideas about referencing movies, which I loved, because it gave us a shared language to build from. The heart of the video is the very real experience of heartbreak and the comfort of friends - but placed in a completely fantastical world, to match the euphoria the song brings.[imgtoken data:3]"Working with Perrie was a total dream. She’s incredibly collaborative, full of energy, and has that rare star quality where the second she starts performing, she’s magnetic. I don’t think I’ve ever seen a higher hit rate of amazing takes."If the video feels joyful to watch, it’s because we had so much fun making it. Honestly, one of my favourite projects I’ve worked on to date."&nbsp;

Perrie 'If He Wanted To He Would' by Dora Paphides

Perrie - If He Wanted To He Would (Official Video)

A chess match transforms into&nbsp;a big musical production number in Iris Luz's scintillating collaboration with PinkPantheress - featuring&nbsp;US singer&nbsp;Destin Conrad as the eponymous Romeo.We start in reality as Pink enters a chess tournament&nbsp;that's taking place in a South London community hall - and where Pink proceeds to demolish the opposition, The Queen's Gambit-fashion. Destin is playing on another table, and they can't help give each other the eye, indulging in some flirting while winning their separate matches.And then, when they come together to play each other,&nbsp;it turns into a full-on musical fantasy: the chessboard is the dancefloor, the chess pieces becoming dancers, and this musical - with Pink performing&nbsp;next to a giant Queen chesspiece - plays out as Pink and Destin start the game in the real world... where Pink quickly takes control.Building on the excellent previous videos of her current Fancy That album campaign, Pink's signature style, and love of strong patterns - black and white checks and tartan - is slickly woven into the lighthearted narrative. Every element is delivered to a high level, and works to frame the singer and her message.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;It's a great addition to the PinkPantheress canon and an exciting step forward for Iris Luz, following her recent videos for the likes of Victoria&nbsp;and George Riley.&nbsp;[imgtoken data:1][imgtoken data:2]

PinkPantheress 'Romeo' by Iris Luz

Pinkpantheress-'Romeo'-by-Iris-Luz

<h3>The Spindle director’s debut music video pays tribute to&nbsp;a modern TV classic. She explains how it happened, and why it needed to be as faithful to the original&nbsp;as possible. On-set photography by Amaka Lin.&nbsp;</h3>Bonnie MacRae was stepping into uncharted territory with her video for singer-songwriter Chloe Slater's song Harriet. Firstly, she had not made a pop promo before, for anyone. And secondly, this was going to be a homage - and not just referencing that work. She was aiming for, in many ways, a complete copy. And the pressure was on, as the original was something that many people know - and seriously love.The brief was to recreate scenes from <a href="https://www.bbc.co.uk/iplayer/episodes/p089g8rs/normal-people" target="_blank">Normal People</a>, the TV adaptation of Sally Rooney's acclaimed novel, ostensibly to highlight the often-noted resemblance between Chloe Slater and Daisy Edgar-Jones, the female lead actor in the show. But such is the emotional pull that the drama has upon&nbsp;MacRae (and many others) she became determined to go 'all in' -&nbsp;to an extent that the likeness between the show and the Harriet video is considerable. At times even uncanny.&nbsp;&nbsp;[vidtoken data:0]This is a departure for MacRae, an up-and-coming director from Dundee who has been building her reputation with work in its own distinctive style.&nbsp;She signed with London-based production company Spindle earlier this year, having made her mark with two short films that tackle important topics with an appealing irreverence:&nbsp;Mind Yersel', about suicide, has been used by the NHS for training healthcare professionals;&nbsp;<a href="https://www.spindle.co/work/endometriosis-uk/" target="_blank">All Up There</a>,&nbsp;about the condition of endometriosis,&nbsp;won a YDA Award and has been recently developed into an awareness campaign for the charity Endometriosis UK.Her latest short, <a href="https://www.spindle.co/work/happy-birthday-daniel/" target="_blank">Happy Birthday Daniel</a>, co-produced by&nbsp;Spindle, is a tongue-in-cheek&nbsp;character comedy (it stars&nbsp;Lizzie Davidson of BBC's Such Brave Girls and Rhea Norwood of Netflix's Heartstopper) that's just starting its festival run.&nbsp;And a TV project also in development is further evidence of MacRae's status as an exciting breakthrough talent.But when Promonews spoke to her, the Harriet video had just been released - and not surprisingly, our conversation was all about that.&nbsp;<blockquote>I wanted it to be exact to the point that you’d have to do a&nbsp;double-take.</blockquote>PROMONEWS: Bonnie, how did this&nbsp;project start for you? &nbsp;BONNIE MACRAE: I was initially asked to pitch on the video about a month before the shoot, I’d known of Chloe’s music and had seen her come up across my Instagram feed a few times but this was both our first instance of working together – and my first ever music video.When did the idea emerge to re-create scenes from Normal People?BM: That was brought to the table as part of the initial brief. In the comments section of nearly every social media post of Chloe’s, you’ll find people comparing her to Daisy Edgar Jones. I think for Chloe, it almost started out as a bit of a joke, and then combined with her love for Normal People, it felt like a really creative and original way to address the resemblance.[imgtoken data:1]Above: Chloe Slater on set of the Harriet video<blockquote>I think for Chloe, it almost started out as a bit of a joke.&nbsp;</blockquote>It then became a collaboration between us both, figuring out what scenes to draw inspiration from, how we would land that balance between humour and something a little bit deeper, relating it back to the lyrics of the song, getting to the root of why Chloe penned it in the first place and channelling that into the visuals.&nbsp;[But] It’s one thing saying you can recreate something and [another thing]&nbsp;actually being able to do it; that was a little mini-stress I realised after winning the job. I decided right from that point that if we were going to make this, it should be as precise as possible, otherwise it could fall a bit flat. And then that’s when we started to work really specifically.[imgtoken data:2]Above: Bonnie MacRea (right) with Chloe Slater on set&nbsp;Why did you pick those&nbsp;particular scenes from the show?BM: With the very first brief, Chloe sent across a few scenes that she really wanted to include, which just so happened to be the same ones that stuck out so vividly in my mind. There’s obviously so many to choose from, but I wanted to make sure we were recreating the ones that felt the most visually iconic.For example, I knew I wanted to recreate Connell’s bedroom with that recognisable wallpaper and duvet as on first glance, I think even those who aren’t huge fans of the show will see it and can put two and two together and identify it as Normal People. The same goes for those grey school uniforms, and that long French braid in Marianne’s hair – instantly recognisable snippets of the show that also felt in alignment with the song and its lyrics.[imgtoken data:3]Above: Chloe Slater with co-star Gus Steele on setHave you attempted anything like this before?BM: Never. This was a completely different production experience to anything I’ve worked on before. The original show is shot in a way that doesn’t creatively come naturally to me. It’s framed in a way that I perhaps wouldn’t have shot it, so it was fascinating to have to almost mould my own work around someone else's in that way.Usually when you take inspiration from something you don’t take it quite so literally. It was a new experience having to brief our HODs to so rigorously match every single detail as closely as possible. It was also daunting because it is my first music video, and this is a world I really want to be in, so I put a bit of pressure on myself to do it well. We worked hard in pre-production to find specific props and wardrobe items and similar locations, but you never really know until the camera rolls and you look at the monitor for the first time, if it’s actually going to pay off.&nbsp;I’m so glad to say that I think it did![imgtoken data:4]<blockquote>It was fascinating to have to almost mould my own work around someone else's.</blockquote>What were the biggest challenges in making it happen?BM: The main challenge was that we had a small budget and one day to shoot four of the show’s most iconic scenes all over South London. But that to me was also the best part. It felt like a real achievement by the end of the day to see what we had managed to do and I also think being restricted both time and money-wise naturally makes you all the more creative.One of the other main challenges was recreating our locations, specifically our interior sets – Connell’s bedroom and the pool setup for instance. We shot in this massive house that 1. Had a pool that really felt similar to that of the original show but 2. Didn’t have any rooms that were boxy and contained like we needed.[imgtoken data:5]It meant we had to build a tiny bedroom within a bedroom and our amazing production designer&nbsp;Lucie Brooks Butler&nbsp;and her team really smashed it in such a small space of time. Lucie came up with the smart idea of bringing in a tall wardrobe and wrapping half of it in our wallpaper to try and emulate that original bedroom composition.[imgtoken data:6][imgtoken data:7]I also really wanted to be as specific as possible. I wanted it to be exact to the point that you’d have to double-take to figure out if you were watching the music video or the real thing. Specificity was really the main working practice across all departments – we set out to find the exact same bedroom wallpaper, the same school tie, the exact replica of Connell’s chain, the same GAA ticket stubs pasted to his bedroom walls.What aspects of the re-creation are you happiest with?BM: I’m really delighted with the supermarket scene. We shot in this small Polish shop on Streatham High Street that ended up feeling very similar to the show, and Chloe is actually wearing the exact dress Daisy wears which is a nice easter egg too.[imgtoken data:8][imgtoken data:9]Our brilliant 1st AD, Dom Asbridge, would be holding up my iPad next to the monitor so that we could watch the show play out alongside what we were shooting. I got super specific with both Chloe and Gus in even the smallest of movements – if Marianne takes her earphones out and that lasts three seconds, let’s make sure we take the same amount of time ourselves. If she raises her right arm at a certain angle to grab a jar off the shelf, let’s try and have Chloe reach that same position.I’m also really proud of how we recreated the bedroom scene. It was honestly very weird putting both Chloe and Gus into position and seeing the show come to life in front of us all. We even got particular in the tiny art details around the room that no one will probably ever notice or think twice about. For example, we managed to source the exact same vintage plate that sits on the side of Connell’s desk – you can actually barely see it in frame in the show or the music video but it’s very satisfying for me knowing that little details like that made it in there.[imgtoken data:10]<blockquote>Being restricted both time and money-wise naturally makes you all the more creative.</blockquote>I also really love our field scenes when they’re in their school uniforms – to me that set up is Normal People and to watch that play back in the edit for the first time and see how close we got was really fun. Who knew a little field in Croydon could masquerade itself as rural Sligo?What’s the primary purpose of doing this – humour, or something deeper? Or is it just to highlight Chloe’s rather uncanny likeness to Daisy?BM:&nbsp;I think it’s a bit of both. Addressing the uncanny likeness I think demands a bit of humour. This is a homage to the show and while we worked really hard to get that replication right, we also aren’t trying to take it too seriously.[imgtoken data:11][imgtoken data:12]I think it’s such a smart idea from Chloe in using the show as a vessel to form this world around ‘Harriet’. So many (including myself) are also still so obsessed with&nbsp;Normal People, even though it came out a good few years ago now, to me it still feels so relevant.Why do you think Normal People resonates so much?The show came out as such a crazy time -&nbsp;at the very start of lockdown when everything was a bit scary and unknown. I binged it almost all in one go - 1. Because it felt nice to have something to escape into and distract myself from and&nbsp;2. The show offered up this totally immersive world that I’d never experienced before.[imgtoken data:13]Above: cast and crew at the end of the Harriet shootI also think that to take an amazing novel like&nbsp;Normal People&nbsp;and to then adapt it so successfully is maybe quite rare. The way the show is shot literally feels like Sally Rooney’s writing. It’s really visceral and I think that makes it so relatable and true to real life in a way most TV fails to do.If you had the chance to do another Chloe/Daisy comparison video, which of Daisy’s other TV shows or movies would you pick?&nbsp;BM: We actually joked about this on set. Maybe my new thing is directing lookalike music videos… I haven’t actually seen it but I know Daisy was in Twisters.&nbsp;So I’d like to see how we’d fancy our chances of replicating a devastating tornado on a similar budget in a day in the same field in Croydon.&nbsp;• Bonnie MacRae is based at Spindle and represented for music videos by Claire Stubbs at Mouthpiece. See her work at Spindle <a href="https://www.spindle.co/directors/bonnie-macrae/" target="_blank">here</a>

Bonnie MacRae

Spindle

BTS: Bonnie MacRae on Chloe Slater's Harriet | 'Normal People still feels so relevant.'

Chloe Slater - Harriet (Official Video)

Daniel Sachon's tumultuous video for Demi Lovato unveils a reimagined Demi, free from the scars of her past and untouched by the chaos around her.The promo for Fast counterintuitively has the singer as the calm centre at the heart of a storm, walking through a nighttime city scene engulfed in hysteria. With a large cast of extras, there is craziness at every turn, orchestrated by Sachon with an admirable eye for detail within the overall concept.&nbsp;Through this tightly-orchestrated mayhem - shot on a studio backlot -&nbsp;Demi emerges in complete control, setting the tone for her new chapter.&nbsp;Her final glance at the camera is the only acknowledgment of the outside world, intentional and poised.[imgtoken data:1]

Daniel Sachon

Demi Lovato 'Fast' by Daniel Sachon

Demi Lovato - Fast (Official Music Video)

Iris Luz captures the thrills and contradictions of hyper consumption and modern femininity, in her whirlwind promo for singer George Riley.In the video for More, Riley is hounded by paparazzi while running through West London laden with shopping bags. So far, so Y2K tabloid.It breaks down into joyful chaos as Riley throws her bags up in the air and dances in a fountain, a moment of crazy, guerilla-shot&nbsp;abandon to register with the drum n bass track.Blending naturalistic scenes of the city with larger than life fantasy, it's a vibrant, breezy visual, capturing the frantic pace of day to day life with a moment of pure ecstasy - and more than a hint of irony. Much more.&nbsp;

George Riley 'More' by Iris Luz

George-Riley-'More'-by-Iris-Luz

Apparently Chloe Slater's fans have been saying it for years. So now the singer-songwriter has decided to fully embrace their observation that she has a striking resemblance to actress Daisy Edgar-Jones in her new video by Bonnie MacRae. And the result is almost spooky - you may believe you are watching <a href="https://www.bbc.co.uk/iplayer/episodes/p089g8rs/normal-people" target="_blank">Normal People</a> all over again.In the video for Harriet, MacRea does not so much reference Edgar-Jones's breakthrough role as to recreate some of the acclaimed TV drama's most memorable scenes&nbsp;with eerie precision. Only this time, 'Marianne' is usually singing to 'Connell' - played by Gus Steele, who also looks like Paul Mescal, but not quite as much as Chloe looks like Daisy.The beauty of MacRae and Slater's wholly invested approach is&nbsp;that, counter-intuitively, even if you're not that familiar with Normal People, you can pretty much enjoy this on its own account. But for the many avid fans of the show, it's a proper&nbsp;treat - albeit one that may seem almost uncanny.

Chloe Slater 'Harriet' by Bonnie MacRae

Harv Frost returns with another spectacular promo for The Last Dinner Party - a surreal Soho-set Western for the first release from the band's second album.&nbsp;The video for This Is The Killer Speaking transforms London streets into a Western-style town, complete with its own dive bar, fashion and... ethereal centaur. Okay, maybe that's a new addition.&nbsp;[imgtoken data:1]In the same ambitious, stylish and often surreal aesthetic as Frost's previous collaborations with the band, it's a fresh vibe and a great introduction to the follow-up to their acclaimed debut LP&nbsp;Prelude To Ecstasy.&nbsp;HARV FROST:"Returning to work with TLDP was a dream, after collaborating together on the videos for the first album and our short for the album&nbsp;Prelude To Ecstasy. We have built such a rich mini-cinematic universe that was a joy to dive back into.[imgtoken data:2]"This time it was about doing something different, we wanted to burn the book on what we have done previously, and create something that combines all we have learnt from our previous videos."The pitch for the video was ‘the band wreaks Western-style havoc in Soho’ so I knew from the start it was going to be a challenge in itself - around the band’s availability we could only shoot on a Thursday morning for the Soho scenes, so that meant lots of curious passers-by&nbsp;and stopping traffic.[imgtoken data:3]"This a complete contrast from the locked-off controlled environments we were used to shooting in for previous videos, it posed a new kind of challenge. Thanks to 1st AD master Rose Lucas and the rest of the crew we managed to pull it all off while causing a bit of a scene."For this video my references were stooped in classic spaghetti westerns like Fistful of Dollars, Django and The Good, The Bad And The Ugly,&nbsp;but wanted to give them this acid-western feeling and shoot them in a way that felt modern without being too pastiche. It was about carving out our own style.[imgtoken data:4]"The challenge was making something that felt unlike past TLDP videos that still kept that DNA. That theatricality and character but with a new lick of paint, a darker palette and an even a bleach blonde wig for Abigail. And in typical Last Dinner Party fashion, a western without horses, but rather, a centaur!"Always such a privilege to work with this powerhouse of a band, and to kick off the campaign for their second album."

Theresa Adebiyi

Studio Island

The Last Dinner Party 'This Is The Killer Speaking' by Harv Frost

The Last Dinner Party - This is the Killer Speaking (Official Video)

Dora Paphides brings the Noughties vibe in this evocative performance promo for Sugababes.&nbsp;The video for Shook blends slick performances by Mutya, Keisha and Siobhan with frantic lo-fi snapshots of city streets&nbsp;- and a starring role for a big white&nbsp;truck emblazoned with&nbsp;the Sugababes logo."At the centre of this chaos is one iconic image: a towering white delivery truck, branded boldly with SUGABABES," explains Dora.&nbsp;"It’s more than a prop — it’s a symbol. A moving monument to the band being cemented as icons.&nbsp;This truck barrels through the video like the band themselves: unmissable, larger-than-life, and impossible to ignore."It's all brought together in a super-fast edit to reflect the feeling of being completely&nbsp;Shook by this latest banger by the 'Babes.&nbsp;

Sugababes 'Shook' by Dora Paphides

Sugababes - Shook (Official Music Video)

Daniel Broadley directs an absorbing promo for Sam Fender's collaboration with Olivia Dean, combining&nbsp;footage of the pair performing on Fender's recent stadium tour, synced to their recorded track.&nbsp;Captured via multiple cameras at the concert&nbsp;at The London Stadium and Fender's 'homecoming' show at St. James's Park in Newcastle, it's a cinematic showcase of&nbsp;live performance, that starts as Sam introduces&nbsp;Olivia to co-perform this song.&nbsp;With sweeping shots of an ecstatic audience and a healthy dose of slow-mo, it's an elevated visual that both encapsulates the&nbsp;tumultuous energy of a Fender gig, and also the tenderness of the song.&nbsp;Lovely work.&nbsp;

Sam Fender ft Olivia Dean 'Rein Me In' by Daniel Broadley

Sam Fender — Rein Me In (feat. Olivia Dean) [Official Video]

Shot over a period of three&nbsp;weeks in India, taking in eight cities - Pune, Chennai, Hyderabad, Bengaluru, Mumbai, Shillong, Kolkata and Old Delhi - and all 'shot' by Ed Sheeran himself (on Snorricam) comes the video for Sapphire."We decided to shoot a music video for Sapphire whilst on tour [in India]," explains Dan Curwin, Ed Sheeran's longtime video commissioner, who also produced this video.&nbsp;"Every day was a new challenge and we covered an enormous amount of locations."From a Bollywood backlot to the rooftop of the old spice market in Delhi, to riding a scooter, a beach, going on a river boat, a dive bar, a chai shop, riding in a rickshaw, football and cricket, and more. Everything was a last minute hustle and total chaos. What could [possibly] go wrong?&nbsp;:)"[imgtoken data:1][imgtoken data:2][imgtoken data:3]

Liam Pethick

Ed Sheeran 'Sapphire' by Liam Pethick

Ed-Sheeran-'Sapphire'-by-Liam-Pethick

A street corner comes to life in Taz Tron Delix's uplifting showcase for BRIT-winning singer-songwriter Myles Smith.In the video for Gold, Smith is front and centre among a growing group of revellers on an LA street intersection. It's a bright, colourful and resoundingly upbeat scene to reflect the surging joy in the song. And the setting also allows Smith's&nbsp;unassuming personality to emerge on-camera&nbsp;in a charming fashion.

Taz Tron Delix

Myles Smith 'Gold' by Taz Tron Delix

Myles Smith - Gold (Official Video)

Loyle Carner embarks on a dreamlike journey in the self-directed video for the lead-off track from his forthcoming hew album.Loyle (real name, Ben Carner-Loyle) is tucked up in a child-sized bed as the video for Lyin' starts. As water begins to drip onto his head, the bedsheet becomes a device to set him on his travels. He finds himself in bed in the sea, then back asleep, waking up, leaving a public bathroom and entering a rush hour crowd of commuters and then - in a moment of brilliance -&nbsp;rising above everyone else.[imgtoken data:1]Eventually he finds himself walking into a crowded theatre and onto the stage where his bedroom is the set - and he walks back into the room.&nbsp;Throughout, Loyle is talking about the pressures and pleasures of fatherhood - a central theme of the new album&nbsp;hopefully!&nbsp;So the video is itself a surreal exploration of fatherhood, where both&nbsp;inner child and grown-up self are still figuring things out. It leaves things open-ended and unresolved, a cue for the viewer to get closer to Loyle Carner's new music.&nbsp;&nbsp;

Ben Coyle-Larner

Hip Hop

Loyle Carner 'Lyin' by Ben Coyle-Larner

Loyle Carner - lyin (official video)

A boy spirals headlong into&nbsp;PinkPantheress's tartan-patterned world in Ethan &amp; Tom's captivating mixed-media video for Illegal.When the boy - played by Sekou Diaby -&nbsp;opens a box of jellies and offers one to Pink, she declines. Sekou eats one, and then trips out into a vibrant animated dreamworld - comprised of Pink's unmistakeable sillhouette against rapidly changing tartan (or plaid) designs, that distinctive, Y2K-influenced aspect of her personal style. Certainly enough to put his poor head in a spin.Playfully flipping&nbsp;between the live action and the animation - created by Black Anime Animation Studio - it's a superb showcase for Pink, both&nbsp;the astute songwriter/producer and blossoming&nbsp;pop star. Ethan &amp; Tom have zeroed in upon the incisive storytelling and deadpan wit of her lyrics, her attitude and iconic look, with humour&nbsp;and visual invention.&nbsp;Following their wacky adventure last year for another unique British musical talent - <a href="https://www.promonews.tv/videos/2024/09/03/geordie-greep-holy-holy-ethan-tom/87942" target="_blank">Geordie Greep</a> -&nbsp;this is another big step forward for the directing duo into the pop world. They have done themselves - and the marvellous Pink - proud.[imgtoken data:1][imgtoken data:2]&nbsp;

DOMA

PinkPantheress 'Illegal' by Ethan & Tom

Pinkpantheress-'Illegal'-by-Ethan-&-Tom

Harv Frost directs a gripping promo&nbsp;for indie rock outfit Black Honey where lead singer Izzy Baxter Phillips is a prisoner, confronted with&nbsp;a barrage of distressing&nbsp;scenes.Rather than Hitchcock - as the songtitle might suggest - the&nbsp;video for Psycho&nbsp;pays homage to&nbsp;Kubrick - in particular the notorious 'aversion therapy' scenes in A Clockwork Orange. Like Alex in the movie, Izzy is similarly strapped to a chair, repeatedly forced to watch a fast-cut montage of&nbsp;traumatic imagery, monitored by Establishment males, played by her bandmates.&nbsp;&nbsp;&nbsp;Izzy falls into a hallucinatory cycle,&nbsp;catching eye of a shocking image - and it is quite a shock - as she is led to the chair. She gives a captivating performance as her&nbsp;mental state deteriorates, and then escapes her captivity to find the paraphanalia driving her torture.But is she a Psycho? Harv Frost draws the viewer&nbsp;closer to Izzy and keeps the viewer guessing right till the end.&nbsp;[imgtoken data:1]&nbsp;

Black Honey 'Psycho' by Harv Frost

Black Honey - Psycho

Harv Frost directs a thought-provoking promo for New York rock band&nbsp;Sunflower Bean, addressing a song about the complex aftermath of trauma.The video for&nbsp;There's A Part I Can't Get Back sees the band members in vintage blue-hued vignettes, performing and working together to push a statue across a church, from the darkness back into the light. Its a symbolic action that reflects the powerful sentiments of the song.A powerful visual,&nbsp;which steadily builds&nbsp;to a beautifully cathartic, healing moment.&nbsp;The triumphant efforts of the group represent&nbsp;their solidarity,&nbsp;supporting one another through disorientation and recovery.&nbsp;“This song is about the lasting scars of grooming - the parts of yourself that are stolen and the anger you carry because of it,” explains frontwoman Julia Cumming. “I didn’t want to write a song about being healed, I wanted to be angry about needing to heal at all.”

Sunflower Bean 'There's A Part I Can't Get Back' by Harv Frost

Sunflower Bean - There's A Part I Can't Get Back

Harv Frost directs an absorbing girl-meets-girl promo for Manchester rock band Picture Parlour, where vocalist Katherine Parlour makes a play for the girl of her dreams - bandmate Ella Risi - at a Northern Soul club.Taking place at the fictitious venue&nbsp;The Parlour, the video for Who’s There To Love Without You?&nbsp;is an atmospheric ode to youth and finding yourself, and all the strangers and adventures along&nbsp;the way.Intimate, in-your-face camerawork by DoP Adam Singodia and a breathless edit&nbsp;by Geri Docherty&nbsp;help to build the energy and suspense, as Katherine finds her initial advances to the club's DJ (played by Ella)&nbsp;rebuffed.Frost's skill with dramatising the world of the bandmates and their characterisation grounds the fantasy in a recognisable - if brilliantly heightened - reality. And she&nbsp;provides this&nbsp;sapphic and sensual tale with an explosive finale...Katherine knuckles down&nbsp;to the cause, eventually leading to a return to the Northern Soul&nbsp;night at The Parlour - and a steamy bathroom stall hook-up.[imgtoken data:1][imgtoken data:2]

Picture Parlour 'Who’s There To Love Without You?' by Harv Frost

Picture-Parlour--'Who’s-There-To-Love-Without-You?'-by-Harv-Frost

British-Ukrainian director Liakh imagines the suffocating life of an immigrant in London for Ukrainian-Canadian artist Question4Later.The video for Eastern European 2&nbsp;delves into the Eastern European experience in London and its struggles in this mixed-media piece. Photos of&nbsp;immigrant-owned London businesses and the artist’s childhood photos are intercut with live actions scenarios with&nbsp;Questions4Later - while eating, in a church, at the wheel of a car - being held in a chokehold in every scene he is in.&nbsp;A visual metaphor for the mental and financial strain experienced by many&nbsp;Eastern Europeans, and especially Ukrainians,&nbsp;in the past few years whilst struggling to survive in London, Liakh and his Ukranian DoP Ilya Maksymenko&nbsp;also recruited members of the&nbsp;Ukrainian grassroots MMA community&nbsp;ViBURNUM - who have&nbsp;made London their new home&nbsp;- to execute the chokehold in different scenes.That adds another&nbsp;element of authenticity to what is a powerful,&nbsp;thought-provoking piece about the immigrant experience.&nbsp;&nbsp;

LIAKH

Questions4Later 'Eastern European 2' by Liakh

EASTERN EUROPEAN 2 [Music Video]

<h3>The Mouthpiece-repped director on working with her idols, moving from Edinburgh to London (with geese) - and the need for greater mental health support to cope with the demands of the industry.</h3>Rianne White is a multi-faceted creative whose extensive list of credits as a director and editor include music videos for Young Fathers, Aurora, Ellie Goulding, Lola Young and The Proclaimers, and the short film Sugar For Your Tea, showcased in festivals around the world. In the past few months Rianne has added&nbsp;two exceptional videos heralding the exciting return of well-loved bands - Franz Ferdinand and Black Country New Road.&nbsp;&nbsp;&nbsp;Rianne has also worked for the TV series Outlander and the short film Nevada, directed&nbsp;by Ruth Paxton, as a choreographer and&nbsp;has collaborated on impactful projects&nbsp;including the Scottish campaign United To Prevent Suicide.&nbsp;Her work consistently explores themes of the ever-evolving resilience within identity and the need for connection with our people, our planet and our inner worlds.Having recently moved from her native Edinburgh to London she now gives us a glimpse into her&nbsp;own world via the SNAPSHOT Q&amp;A. And you can find out what she thinks is 'sagacious'. What a great word...Name: Rianne WhiteBirthday: 2nd November 1991Where did you grow up? Edinburgh, Scotland.Place of further education and course (if any)? I never thought I would go into further education after leaving school as quickly as possible at the age of 16. But impulsively, years later, I took possibly the longest route (a casual 10+ hour trip) to Falmouth University to study a BA in Choreography. It was here that I taught myself film through the lens of physicality and movement. Those were some wild years on the coast.Where do you live now? I moved to London 6 months ago.Name a film or video or other creative work that had a huge influence on your career choice?I remember being very (very) young and finding the VHS of <a href="https://www.imdb.com/title/tt0073812/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_tommy%2520movie" target="_blank">Tommy (1975, Dir. Ken Russell)</a> and being completely fixed to the screen. The scene of him crashing through the mirror into the swimming pool embedded itself in my brain and conjured this curiosity into how cinema can punctuate inner worlds so deeply and beautifully.&nbsp;[vidtoken data:0]I don’t think I could understand a lot of what I saw at the age I was, but I remember whispering to myself that he was now free. Weightless in water. Transformed. I haven’t watched it since - I fear it would be like brushing your teeth right before a great coffee. Don’t want to spoil the memory.<a href="https://www.imdb.com/title/tt0091369/" target="_blank">Labyrinth (1982, Dir. Jim Henson)</a> was another one that made my expansive imagination feel seen in many ways as a child. David Bowie has always featured throughout my life beamed in through the womb to each postcode we lived in. It was wonderful to understand him here so young. My Scorpio only child gripped onto this with both hands, finding the theatrics energising and brilliant.<blockquote>Madonna's&nbsp;Frozen was such an important and inspiring visual for me.</blockquote>I also recall pre-double digits in age when I saw Frozen. NOT “the cold never bothered me anyway” one, but Madonna’s music video released in 1998 (Dir. Chris Cunningham). It permeated my mind in how she moved, the endless desert, birds and hounds - this was such an important and inspiring visual for me. The understanding and knowledge of music videos seeped into every pore, I was instantly addicted to where the music took the artist — what world, what shape of movement and if I was so lucky, which animal would find its way on screen alongside them. I was hooked![vidtoken data:1]What were the important first projects for you, in terms of a learning experience and getting noticed, or a foothold in the industry?Life had been turbulent in my early to mid-twenties, shaped by family traumas and the discovery of mental health, with all the frills that come with it. I distinctly remember being at home in Edinburgh, staying with my mother at the time, when I received a message from Young Fathers' management about a potential music video.Within days, I was trotting down Leith Walk to meet them in their studio and discuss ideas. It was such an instant click, and as they played Lord&nbsp;through the speakers, I honestly felt an arrival within myself and instantly knew how important and essential it was for us to create art at this time.‘If wishes were horses, then beggars will ride’. The concept started with a rocking horse, and evolved into the wonderful Alloysious horseback on Magic. It was a dream producing, directing and editing this piece and waking up post-release explosion of news.[vidtoken data:2]This journey took me around the world to film festivals, landed the work in publications I had idolised, led to meetings with production houses, and ultimately resulted in signing with Partizan globally for three years. Most importantly, it brought me back to life, reigniting my focus on the power of the arts. If you ever have a moment, listen to Lord at full volume on headphones. It is magic.Best film(s) you saw last year?<a href="https://www.imdb.com/title/tt27503384/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_perfect%2520days" target="_blank">Perfect Days (2023)</a> - this is like the book on the shelf that catches your eye to read time and time again before finally picking it up EXACTLY when you need it most. This Wim Wenders film, released 2023, gave me so much joy recently. I had sore cheeks from smiling all through it as its poetry and meditation of gratitude held by Kōji Yakusho’s character is so profound and understood. This is a deep inhalation, a tapping on the shoulder to open your eyes to what is around and find what truly brings you joy.[imgtoken data:1]<a href="https://www.imdb.com/title/tt27367464/?ref_=nv_sr_srsg_0_tt_4_nm_4_in_0_q_kneecap" target="_blank">Kneecap (2024, Dir. Rich Peppiatt)</a> - this film triggered a constant ‘fuck yeah!’ reaction throughout. It combines the ingredients of electric film-making and cast - crowned by a story routed in language, defiance and legacy. Liam Óg, Naoise Ó Cairealláin &amp; DJ Próvai are stand out.<a href="https://www.imdb.com/title/tt10236164/?ref_=nv_sr_srsg_0_tt_1_nm_7_in_0_q_The%2520Girl%2520with%2520the%2520Needle" target="_blank">The Girl with the Needle (2024, Dir. Magnus von Horn)</a> - hardcore trauma wrapped in the most stunning cinematic ribbon. Vic Carmen Sonne is mesmeric, and watching her veiled in black and white throughout her performance was such a treat. I enjoyed this, although I needed to hotbox myself in sage and incense after to bring my heart rate down.[imgtoken data:2]Favourite song/album/music artist in the past year?<a href="https://www.kaetempest.com/" target="_blank">Kae Tempest</a> holds a rhythm in my heart. Everything they do is just hitting a frequency and appetite for lyricism I don’t often feel absorbed within anywhere else. I am constantly in awe and grateful to have spent time with this beautiful mind and person. And Doechii’s album <a href="https://open.spotify.com/album/60UzB8mOCMpc7xkuJE6Bwc?autoplay=true" target="_blank">Alligator Bites Nevel Heal</a>&nbsp;is sagacious. Offt. I love sticking this on.I am also a playlist addict. Last year's eclectic Christmas generational hotlist holding its weight through 2025 is studded with Tori Amos (Precious Things – one of the greatest tunes), Depeche Mode, Warren Ellis, Radiohead, Biig Piig, Nao, The Cure, Yeah Yeah Yeah’s, PJ&nbsp;Harvey to Khruangbin.<blockquote>It's alarming that in this line of work you’re constantly advised not to be overly political.</blockquote>Favourite music video/videos in the past year?<a href="https://www.imdb.com/title/tt33029917/?ref_=nv_sr_srsg_0_tt_1_nm_0_in_0_q_All%25C3%25A9gorie%2520Citadine" target="_blank">Allégorie Citadine (aka An Urban Allegory)</a> - a short film, directed by Alice Rohrwacher &amp; JR, that's a beautiful exploration through the eyes of a child. This has so many great moments, and the child actor has one of the most beautifully expressive faces.[imgtoken data:3]I loved the Jungle series of music videos by directors J Lloyd [and Charlie Di Placedo], choreographed by Shay Latukolan and shot by the babe that is Tasha Duursma. Absolute tunes!Conceptually, I loved <a href="https://www.promonews.tv/videos/2024/02/28/kasabian-call-waxxwork/85468" target="_blank">Waxxwork's Kasabian's music video</a> which features a skydiver jumping out of a helicopter with the video of the band playing real time on the phone screen as it hurtles towards earth. There have been so many debates involving AI, and here is an example of how the magnitude, bravery and craft of an idea is as awe-inspiring as its final results when pulled off ‘IRL’.[vidtoken data:3]What was (or usually is) your favourite night out last year? The nights out that start with the side eye ‘lets go for one’ and then transpires into new found friends, a lot of dancing and uncontrollable laughter.In terms of the music video-related jobs of the past year or so, what were the most rewarding creatively, and why?<a href="https://www.promonews.tv/videos/2024/11/25/franz-ferdinand-night-or-day-rianne-white/89168" target="_blank">Franz Ferdinand's Night Or Day</a> was, hands down, one of the best experiences all round. From the first listen I was transported to my youth in T in The Park and being in the bounce of the crowds to Take Me Out&nbsp;in the Scottish cry of ‘here we, here we, here we fucking go’ and having them echo throughout Scotland and beyond. It’s such a defining moment to collaborate with artists whose music has illuminated parts of my life - and even more incredible to work with them on home turf in Scotland, in the very place where they recorded the music. Woah![vidtoken data:4]I have so much love and respect for everyone involved and couldn’t be more impressed by the incredible individuals who make up Franz Ferdinand. Alex, Audrey, Bob, Dino, and Julian are such genuine souls, and they made this experience truly unforgettable.It was also a real treat that Alex foraged potatoes and rosemary from his garden and rustled them up for the crew - true gent! What a bunch of legends. I’m so grateful for the treasured new friendships with these wonders and can’t wait to hear what’s next! Their The Human Fear&nbsp;record, released earlier this year, is an absolute rocket - get it in your ears![imgtoken data:4]Above: Alex Kapranos, lead singer of Franz Ferdinand,&nbsp;picking rosemary - shot on 35mm&nbsp;by&nbsp;Rianne White.Another absolute dream was working with Black Country, New Road on their beautiful song Besties. Never have I been so happy to be stood in a field with mud up to my thighs, grinning while filming.This all came through a spark ignited with the song itself from the first listen. I remember responding to it by writing about my childhood bestie Sophie (of almost 30 years). We would write to each other often and mastermind ways to get back to each other after a devastating parting very early in our childhood when I moved back to Scotland. The understanding of female friendships was so pure and informed by the intricacies of map drawing and endless imaginative worlds with no care of distance. One deeply understood platonic love, one objective – finding your bestie.Meeting the band, and ideating with Georgia and Ginny was the most wholesome and beautifully shared moment as all the parts came together. Fireworks, hounds and the heartbeat of the harpsichord found us running across parts of Hastings and sharing a collective vision of dropping the world for your bestie. Black Country, New Road are truly brilliant![vidtoken data:5]What are your favourite other (non-mv) projects of the past year or so?Working with HUGO across two commercial projects was an incredible experience - a true testament to the energy and passion this kick-ass brand brings to set. I adore these wonderful people. It was a pleasure to work on their collaboration with Bella Poarch in Milan and to feel the electricity of creatives across stills, socials, and film - one huge dance against the clock unfolding in rapid succession.Their trust and support made the whole experience feel limitless and free. And of course, I was joined by my ride-or-die DoP, Tasha Duursma... Who, let’s face it, is an absolute radiant talent.[vidtoken data:6]Months later, we reunited for <a href="https://www.youtube.com/watch?v=Mvgwc5_Y9Q8&amp;t=26s" target="_blank">HUGO’s F1 Racing Bulls collection in London with Daniel Ricciardo and Yuki Tsunoda.</a> It was another perfect fusion of energy and creativity. Daniel and Yuki were hilarious and a joy to direct, and it was deeply humbling to be back with the HUGO gang once again.What’s the most surprising thing that’s happened last year?Waking up in a new postcode and calling it home is surprising, even when manifested and planned into boxes of books, art supplies and enough plants to oxygenate another planet. The move from Edinburgh to London by van was pretty smooth with my partner-in-crime through the crowds of The Fringe, several weather fronts and when hitting the open road under a migration of geese – also travelling south.A few days after my birthday last year, a notification popped up that a photograph I had taken was chosen to be exhibited in the <a href="https://www.glasgowgalleryofphotography.com/exhibition2025/women-in-photography" target="_blank">Glasgow Gallery of Photography’s Women in Photography&nbsp;collection</a>. It’s been magic to have a part of me up in Scotland while I am down here [in London], and the support from my favourite people.[imgtoken data:5]Most annoying/irksome thing that’s been going on this year (work-related or otherwise)?Honestly, with the world right now it feels impossible even to hold the word ‘annoying’ in context with how immensely depressing and heartbroken the state of humanity is – especially with our mass media exposure of the genocide of Palestinian people alongside the need for collective liberation against oppression of Sudan, Congo, Tigray, Lebanon, Yemen... and may other places that are being underrepresented by Western media. This sided with Trump and the far right - fucking kill me now. Beaming so much love to our LGBTQ+ beautiful queer community – I love you, I see you.It's alarming in this line of work (or any) that you’re constantly advised not to be overly political or let your mouth run on topics that might upset. It has been beautiful to come together with friends and family in creating noise and awareness. I am so grateful to those who sponsored and supported my ‘Stride For Palestinians’ fundraiser with Medical Aid for Palestinians and other links/sources shared. It’s the tip of the iceberg, but it's led to many conversations and modes of action. When life feels too overwhelming, I am so grateful for my community – the people who love the people, nature and freedom on this planet.<blockquote>The need for mental health support to alleviate the burnout spin of pressures and relationships across crew is HUGE.</blockquote>Your top suggestion to change and improve how the music video industry works?It feels like the ‘known thing’ that music videos don't have a lot of money and that to make a career solely of music videos is fundamentally not doable for the vast majority of people - unless you come from money/willing to give part/majority of your fee to the project itself. As a person that does not fall in this category it has been extremely hard to balance passion with financial security.There should be more support for creatives in the pitching process, empowering fees for time spent on creative ideation, especially in line with numerous treatment submissions. In all areas of production, from pre-to-post, the need for mental health support to alleviate the burnout spin of pressures and relationships across crew is HUGE. I have felt the machine of expectation in spells of ‘we need to get this across the line’ and the sacrifice of creative/payment, or the toxic positivity of ‘but this is a great opportunity/ you should be grateful’ in line with the amount of work required from craft and soul. It is the best job in the world to me, but it is hard work.I have been so fortunate with the people I have created with, and I have the upmost respect for the brilliance and empathy that exists within our teams. We need to support our creative minds better, and celebrate the meeting of music and film in the way it truly deserves for all artists involved.What are you looking forward to for 2025?Creatively I am pouring my heart into developing a short I have been dreaming about for years. I am so excited for this to evolve and grow with me and be able to collaborate with brilliant people. In a couple weeks I am off to Japan to celebrate my partner's birthday and see great friends for adventures seasoned with cherry blossoms, street photography, new tastes and culture.On my return, I want to hit the ground running and dive even further into the world of creation. There are so many musicians that have my inner world bouncing with inspiration and collaborations with brands that excite me deeply. I will be fully open for business in May 2025 and cannot wait for what is to come. Here we, here we, here we.....• Rianne White is represented for music videos by Claire Stubbs at Mouthpiece; watch more of her work <a href="https://www.riannewhite.com/" target="_blank">here</a>