Commissioner

Scott Wright

Grian&nbsp;Chatten dispenses with his green tracksuit, but there's still a strong sense of the uncanny, in the video by music video directing legend Dave Meyers and up-and-coming director Cam Erickson for Marianne,&nbsp; heralding&nbsp;the new Fontaines D.C. album.It's just more lurid, surreal and, frankly, even more off-the-wall than anything they have done before. Desire and paranoia meet at a neon-drenched house party where boundaries between&nbsp;reality from fantasy are eradicated. And the eponymous Marianne... is she real at all?It feels like a step-change for the band, a real statement - and with a creative use of AI that is running against the grain. But with the familiar persona of Chatten at the centre of everything, it is still very Fontaines.[imgtoken data:1]&nbsp;&nbsp;&nbsp;

Cam Erickson

Dave Meyers

XL Recordings

Fontaines D.C. 'Marianne' by Dave Meyers & Cam Erickson

Fontaines D.C. - Marianne (Official Video)

<h3>Under the creative direction of Jonathan Glazer, a unique and powerful document of the lives of children living in the midst of war has been created for the new War Child album HELP(2) - by handing cameras to the children themselves.</h3>Children from&nbsp;several conflict zones - Ukraine, Gaza, Yemen and Sudan - were given small cameras by local War Child representatives to record their everyday lives, and show us the world from their perspective. The results has become a very moving and thought-provoking document of the lives of these and other children living in these conditions - of which <a href="https://www.warchild.org.uk/" target="_blank">War Child</a> now estimate could be 20% of the global population of children.&nbsp;Directed by Billy Boyd Cape and edited by Thomas Grove Carter, the footage has been organised into a visual accompaniment to Olivia Rodrigo's contribution to <a href="https://warchildrecs.ffm.to/help2" target="_blank">HELP(2)</a>, her cover of The Magnetic Fields'&nbsp;The Book Of Love.<blockquote>What they did with the cameras was up to them.</blockquote>The album is a sequel to the original&nbsp;HELP&nbsp;album, recorded in support of War Child on a single day in 1995, under the auspices of Brian Eno; thirty years later,&nbsp;HELP(2)&nbsp;was&nbsp;brought to life through a close collaboration with Abbey Road Studios, recorded predominantly across one week in November 2025 under the stewardship of producer James Ford.As with&nbsp;the original, HELP(2) features a stellar cast of musicians. And in addition, this project is creative directed by renowned filmmaker and Academy Award winner Jonathan Glazer, working with Academy Films, overseeing the filming and art direction for the project.[imgtoken data:1]Working with his regular collaborator Mica Levi, Glazer came up with the concept&nbsp;“By Children, For Children”. And in addition to The Book Of Love video, children were invited into the&nbsp;sessions at Abbey Road Studios to film the recording of the album without restrictions.&nbsp;“We handed cameras to kids so we could see what they see - the world through their eyes," Glazer has commented.&nbsp;"We wanted to remove the adult hand and the adult world around them - the conflict, the injury and the war."What they did with the cameras was up to them, we just encouraged them to play. What we got back was the purest form of their energy, joy and truth. It gives us a chance to not only witness, but experience their innocence, joy and resilience.”<blockquote>We built complex briefs, then progressively simplified them... children filming children. No adults in sight. No conflict. Only play.&nbsp;</blockquote>Billy Bod Cape adds: "So much of our industry is about defining the final product in the first meeting. But this was one of those rare creative endeavours where none of us knew exactly what we were making until it was finished."The aim of the project was to bridge the gap between the HELP(2) album and the children War Child works to support every day. It began with Glazer having one clear idea: let’s change the perspective - from observing the children to the children showing us what they observe. Flip the idea of a charity film on its head, and remove the adult hand in the process.[imgtoken data:2]"As we followed that thread, the video evolved with each conversation. We worked closely with War Child, and then with different fixers and production companies in Gaza, Ukraine, Sudan and Yemen - each working under the most difficult circumstances imaginable."We built complex briefs, then progressively simplified them until we found the very core of the idea: Children filming children. No adults in sight. No conflict. Only play. A journey from home, out to a place where they can feel safe and free.[imgtoken data:3]"We began work on the project long before any of the album had been recorded, so we didn’t know which track the video would use. But upon hearing Olivia Rodrigo’s beautiful rendition of The Book of Love&nbsp;in the studio, it became clear it was the right choice for us."As we walked into the editing room, we had to begin the filmmaking process again - a new process of writing, discovery and refinement. Moving through hours and hours of footage to find the core of the childhood experience, and the connective tissue between these children’s lives that captures their innocence, purity, joy and resilience."<blockquote>It felt as though they were a single group of children.</blockquote>Editor Thomas Grove Carter adds that receiving the rushes felt like a privilege."The children filmed unguided by adults, and what they sent us was rough, precious and delicate footage," he says. "We didn’t want to force a narrative or a point of view onto the edit. Instead, we tried to observe what they had given us and do justice to their naivety and joy."Their shots were meandering, curious and playful. Watching them, it felt as though they were a single group of children, separated only by an accident of birth.&nbsp;That became the guiding idea for the edit. To find moments of connection and build the shots into a shared, childlike point of view. A camera move that begins in Ukraine and ends in Gaza. A giggle in Sudan becoming a squeal in Yemen.[imgtoken data:4]"We began to think of Olivia’s gentle song almost like a score for the film. It gave the images space to breathe, allowing the children’s rhythm to guide the pacing of the edit. Eventually building into a shared moment of playful transcendence."Billy Boyd Cape concludes that the purpose of the film is to&nbsp;reveal the reality of these childrens' lives in a way that&nbsp;engages viewers - so that they want to help.&nbsp;&nbsp;"So much footage of war makes us cover our eyes - it forces us to look away," he says.&nbsp;"The hope with this film is the opposite - that we look, and cannot look away. Finding so much to love, cherish and protect. No child should ever be part of war. Ever."

United Kingdom

Billy Boyd Cape

Academy Films

Trim Editing

Olivia Rodrigo 'The Book Of Love' by Billy Boyd Cape | 'The hope with this film is that we cannot look away.'

A startling introduction to Glasgow-based electro producer and DJ KAVARI by artist and director Game Nova.Creating a very distinctive world of transgression, the visual for Iron Veins is a darkly haunting piece, featuring the artist and fellow performers in a monochromatic montage of water, blood and cake, and&nbsp;a highly creative array&nbsp;of fetish-inspired costumes.&nbsp;Instantly rousing, the video is both enigmatic and provocative, offering a glimpse into an underground culture embracing trangressive acts through artifice and symbolism. It's unlike anything else out there - and well suited to&nbsp;the nightmarish soundscapes in the track.[imgtoken data:1]&nbsp;&nbsp;

Game Nova

KAVARI 'Iron Veins' by Game Nova

Kavari-'Iron-Veins'-by-Game-Nova

Described by Romy as a "proudly queer love song", the track is backed by a video, which is directed by her creative and life partner Vic Lentaigne.Speaking in more detail about Love Who You Love, Romy said: "I wanted to write a song that not only celebrates and uplifts love, [but also] calls for change. The history of resilience and togetherness in the face of unbelievable challenges within the community is so powerful. Personally, finding friends, family and people I look up to and learn from through queer clubbing has made me feel so much less alone and braver in so many aspects of life."These experiences and the people I've met, continue to be so inspiring to the music I'm making, and this song intends to be a love letter of visibility and pride. No one can take the love you feel away from you – it's yours."

Vic Lentaigne

MrMr

Coffee & TV

Dance

Romy 'Love Who You Love' by Vic Lentaigne

Romy-'Love-Who-You-Love'-by-Vic-Lentaigne

Having directed the first video in the Romance album campaign for Starburster, Aube Perrie reunites with Fontaines D.C, to close it.We once again encounter the figure in the green tracksuit — a double of band frontman Grian Chatten — first seen in Starburster sneaking his way into various music video shoots. This time, he heads to a Fontaines D.C. concert to watch the band play, determined to slip into the backstage area.The video unfolds as a kind of pursuit: Aube Perrie himself is&nbsp;in the video, setting&nbsp;up an array of cameras — GoPros, handhelds, unexpected angles — like a network of surveillance designed to catch this elusive gatecrasher in the act. His intrusion turns into a filmed game of hide-and-seek, veering between fleeting appearances and a face-to-face with the singer himself.Visually, the aesthetic is deliberately grainy, evoking analogue textures and the rough edges of 1990s video formats. This raw quality, combined with the energy of the live show and glimpses of the band on tour in legendary venues, creates a hybrid form: part candid documentary, part playful fiction.[imgtoken data:1][imgtoken data:2]

Aube Perrie

DIVISION

Fontaines D.C. 'Desire' by Aube Perrie

Fontaines-D.c.-'Desire'-by-Aube-Perrie

Luna Carmoon completes her trilogy of videos for Fontaines D.C., ingeniously uniting the leading protagonists of the Hoard&nbsp;director's two previous videos for songs from the band's acclaimed album ROMANCE - and themed to match the album's title.'Martin' (played by Ewan Mitchell) enters the chemists for the meds to treat the wounds incurred during the brilliant <a href="https://staging.promonews.tv/videos/2024/08/23/fontaines-dc-modern-world-luna-carmoon/87842" target="_blank">In The Modern World </a>video, when he sees 'Spider' (Grace Collender), working there as a sales assistant, after her witchy exploits in the mesmerizing <a href="https://staging.promonews.tv/videos/2024/08/08/fontaines-dc-heres-thing-luna-carmoon/87678" target="_blank">Here's The Thing</a> promo.And it really is love at first sight for both of them.&nbsp;&nbsp;

Luna Carmoon

Chris Murdoch

ProdCo

Alexa Haywood at Free Agent UK

Rock

Fontaines D.C. 'It's Amazing To Be Young' by Luna Carmoon

Fontaines DC - It's Amazing To Be Young (Official Video)

Ed Morris directs a haunting promo for&nbsp;Everything Is Recorded, featuring&nbsp;Mary In The Junkyard's Clari Freeman-Taylor.The video for Swamp Dream #3 transports viewers to a desolate, otherworldly landscape where the line between music and emotion blurs. The video follows a stoic figure - vocalist Clari Freeman-Taylor - trudging through a muddy dirt track in the middle of a vast, barren field, carrying a small 1980s television.On the TV screen, a vibrant, expressive version of Clari’s face sings, juxtaposing her impassive expression as she presses forward. Connected to a long extension cable, the TV mirrors the tension in the track as the cord stretches to its breaking point.The textural, abstract aesthetic has hints of expressionism and experimental cinema, which creates an anachronistic, pensive atmosphere. Freeman-Taylor's performance is suitably stoic, and the inclusion of two versions of her - the TV and 'real life' ones - adds an intriguing visual hook.&nbsp;Lovely work.&nbsp;

Ed Morris

Riff Raff Films

Everything Is Recorded ft Mary In The Junkyard 'Swamp Dreams #3' by Ed Morris

Everything-Is-Recorded-Ft-Mary-In-The-Junkyard-'Swamp-Dreams-#3'-by-Ed-Morris

Fidel directs a fluid, retro-fired visual for British artist Jim Legxacy's sweet, garage-influenced track from his anticipated Black British Music mixtape.The video for aggressive captures Jim in everyday situations and an atmospheric performance set-up, driven by a powerful edit. There's a distinct nod to the origins of UK Garage with Jim favouring 90s football shirts, and viewed&nbsp;through the screen of the iconic Blackberry.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;

Fidel

CURATED LONDON

REPmedia

Avenues

Jim Legxacy 'Aggressive' by Fidel

Jim-Legxacy-'Aggressive-'-by-Fidel

As their long-awaited new album ROMANCE is released, comes another&nbsp;remarkable Fontaines D.C. video - and another tour de force by Luna Carmoon.The director who made her music video debut with&nbsp;the intense drama of <a href="https://www.promonews.tv/videos/2024/08/08/fontaines-dc-heres-thing-luna-carmoon/87678" target="_blank">Here's The Thing</a> (after her acclaimed feature debut Hoard) quickly returns to duties with the Fontaines with an extraordinary piece of work for In A Modern World: a surreal comedy-drama, featuring an incredible central performance&nbsp;from Ewan Mitchell (House of the Dragon, Saltburn) - as a character engaged in the netherworld of a very niche, indeed bizarre and&nbsp;dangerous sport.&nbsp;It's car-jitsu - jiu-jitsu, within the interior&nbsp;of a car. Invented <a href="https://www.youtube.com/watch?v=a1f7r0cfaXc" target="_blank">just a couple of years ago, in Chicago</a>, Mitchell's character is the protagonist through which Carmoon explores an absurd yet compelling experience. At first, its just the raw, explosive physicality involved of clashing bodies within a ridiculously small space - which is surprising and hugely intense&nbsp;in itself.Then the director adds another dimension to the&nbsp;brutal clash of bodies - what is happening outside the car, the voyeuristic relationship of passers-by who become the audience to Mitchell and a succession of combatants, a kind of sexual frisson that is created through the intensity of the action. The parallels with another in-car activity is undeniable.&nbsp;It's&nbsp;Fight Club&nbsp;crossed&nbsp;with dogging.&nbsp;Horrible, painful to watch yet hilarous, it's mesmerizing stuff, a fever dream. And it's hard to undersell how good Mitchell is in this. Or how impressive it is in terms of the vision and world creation by Carmoon. Just great.[imgtoken data:1]&nbsp;

Fontaines D.C. 'In The Modern World' by Luna Carmoon

Fontaines-D.c.-'In-The-Modern-World-'-by-Luna-Carmoon

Filmmaker Luna Carmoon, the director of well-received feature debut Hoard, now&nbsp;unveils her debut music video for Fontaines D.C. - where she brings a modern twist to cult classics The Craft and The Lost Boys.In the Here's The Thing video, Grace Collender plays a girl ostracized by her peers during a community dance competition. After a humiliating fall on stage, she finds herself entangled with a group of outsider girls who begin to infiltrate her life and dreams. The narrative unfolds with elements of supernatural intrigue, as these enigmatic girls lead our protagonist into a world of chaos and rebellion.With rich cinematography from Antoine Cormier, Carmoon creates an unsettling, gripping atmosphere. The haunting, smog-filled settings evoke the suspense of 80s Giallo films, while the characters’ distinctive, alt-inspired wardrobes draw from grunge and goth aesthetics. And the&nbsp;influence of films like The Craft and The Lost Boys is evident in the way Carmoon portrays the bond between the outsider girls, with the lead character’s transformation from outcast to a powerful, defiant force driving the story forward.It all leads to an explosive climax, dovetailing with another banging Fontaines track from their forthcoming album Romance.&nbsp;[imgtoken data:1][imgtoken data:2]

Fontaines D.C. 'Here's The Thing' by Luna Carmoon

Fontaines D.C. - Here's The Thing (Official Video)

Alice Kunisué&nbsp;directs a wonderfully eccentric promo for Peggy Gou.&nbsp;The video for Lobster Telephone is the director's first promo with ProdCo, having recently signed with them for representation in the US and UK, and Kunisué's vision for the visual brings an otherworldly, playful vibe to complement the track.&nbsp;Opening with six guys magically popping out of the water, they awkwardly dance to the beat before spotting Peggy and becoming instantly mesmerised.&nbsp;From there, it's a trippy fever dream with lobster claw accessories, vibrant bouncy balls and a heavy dose of contemporary surrealism.&nbsp;“I think anyone who meets Peggy feels instantly charmed and entertained by her wit and humor," comments&nbsp; Kunisué.&nbsp;"It just came very naturally to bring that playful aura into a story.”

Alice Kunisué

Peggy Gou 'Lobster Telephone' by Alice Kunisué 

Peggy-Gou-'Lobster-Telephone'-by-Alice-Kunisué-

Fontaines D.C.'s self-directed video for Favourite interweaves&nbsp;home video archive of the five band members with lo-fi footage of their recent trip to Madrid to brilliant effect.Madrid is&nbsp;a city that the band have multiple personal connections to, as the place guitarist Carlos O’Connell was born and grew up in and the city the band used as a base for their first ever tour. But the recent footage of the band in the Spanish capital&nbsp;works as a support to even more personal content - home video footage of each of the band&nbsp;at different stages of childhood.&nbsp;It's an impressive document of the group showing their affection for each other, in their own unsentimental&nbsp;fashion.[imgtoken data:1]"We worked with Gwen Ghelid, who edited the Starburster video, and did an incredible job again editing this video for us too - he nailed it first time," says Scott Wright, head of creative at XL Recordings. "The video captures something special about the band’s friendship, and their wider relationships with family, those here and departed. It’s joyful, celebratory, and enhances those qualities in the song."Fontaines D.C's Connor Deegan, who co-produced the video with Wright, adds: “This video is a reminiscing of the past; of each other’s childhoods we didn’t know. We explore where we came from, and who on some level, still are. I see a lot of familiar faces being pulled, and the antics these lads are undertaking in their videos are so disarming and vulnerable to see. I am at times reminded of boyish mannerisms that they’ve grown out of in the time I’ve known them - and some that they haven’t."I feel their souls there. I would like this video to serve as a way of honouring our friendships, and moving from that, the relationships we hold dear. Our mothers, fathers, siblings, aunties and uncles, grandmothers and grandfathers. Those who we still have, and those we have sadly lost. We haven’t lost that connection to each other, and are not afraid to come of age again, holding on to romance in a sometimes trying world.”&nbsp;

Ireland

Fontaines D.c.

Indie

Fontaines D.C. 'Favourite' by Fontaines D.C.

Fontaines D.C. - Favourite (Official Video)

Romy teams up with acclaimed&nbsp;Aftersun director Charlotte Wells for the video for Always Forever, the singer's interpolation of Donna Lewis's Nineties hit I Love You Always Forever, produced by Fred Again.Two dancers in a darkened room are revealed to be in a mirrored space, intercut with Romy's performance in the same space, in&nbsp;Wells's music video debut, which also pays homage to <a href="https://www.youtube.com/watch?v=SqdWTeXWvOg" target="_blank">the video for Lewis's original</a>.&nbsp;For the full story about the making of the video, read <a href="https://www.dazeddigital.com/music/article/62718/1/the-story-behind-romy-s-new-video-always-forever-charlotte-wells-director" target="_blank">Laura Malloy's feature for DAZED</a>, where Wells reveals she was also inspired by watching Texas videos from the 1990s ("I spent a week watching music videos from 1996 and 1997 which is really an assured way to put anybody in an excellent mood," says Wells). And Romy responded to the calm assurance of Sharleen Spiteri in those videos for her own performance.&nbsp;

Charlotte Wells

Romy 'Always Forever' by Charlotte Wells

Romy – Always Forever (Official Music Video)

Fontaines DC are back - with an extraordinary, thought-provoking&nbsp;video by Aube Perrie.&nbsp;The video for Starburster opens with vocalist Grian Chatten dressed as a football referee, heading out for a kick about, until the ball rolls under a garage door.&nbsp;From there, we see Chatten morph into dozens of different characters - from the whimsical to the straight up creepy, with a special shout-out to the gimp suit and a horrifying prosthetic mask.&nbsp;In a frantic blur of strange little vignettes, we see the artist interact with his bandmates and random people, backdropped by the eerily quiet landscapes behind him. There is also a real sense that somehow Chatten has wondered into other worlds, and we are finding out about those worlds from his perspective, before quickly moving on.&nbsp;The use of an inhaler puff to break up the structure, is also very effective device to highlight the&nbsp;fragmented, almost unreadable nature of the narrative.&nbsp;A truly inspired, almost bizarre&nbsp;visual that earns its status of one of the most surreal clips of the year so far. It's also arguably Aube Perrie's strangest video yet - and that comes as the biggest compliment.&nbsp;

Pulse Films

Hands 

Alternative

Fontaines DC 'Starburster' by Aube Perrie

Fontaines D.C. - Starburster (Official Video)

A return to the music video medium by none other than&nbsp;Paul Thomas Anderson is always cause for excitement. And his latest team up with Thom Yorke, for the new release by The Smile, does not disappoint.We are in familiar territory as Anderson follows Yorke on a surreal journey through a black and white world. Actually, its&nbsp; clearly a recognisable version of&nbsp;London, one hauled from the past but still here, more than ever.Its cozy and bleak, with shafts of humour as Thom, our inimitable guide, seeks a bit of colour and finds - well, lots of versions of himself...[imgtoken data:1][imgtoken data:2]&nbsp;

Paul Thomas Anderson

Object & Animal

The Smile 'Wall Of Eyes' by Paul Thomas Anderson

The-Smile-'Wall-Of-Eyes'-by-Paul-Thomas-Anderson

Peggy Gou's summer anthem gets an appropriately sun-kissed visual courtesy of Somesuch director Thomas Hardiman, filmed on location in Ibiza.A playful mix of performance, choreography, gorgeous vistas of one of the loveliest places anywhere, in the video for (It Goes Like) Nanana Hardiman allows Peggy to find her groove, at the centre of the glamourous party, but not always the centre of attention.Shot by Nikita Kuzmenko, edited by Thomas Grove Carter and graded by Myles Bevan, it's a very&nbsp;sophisticated and aspirational addition to the classic Ibiza-set video.[imgtoken data:1]&nbsp;

Thomas Hardiman

Somesuch

Studio RM

Cinelab Film and Digital

Peggy Gou '(It Goes Like) Nanana' by Thomas Hardiman

Peggy Gou - (It Goes Like) Nanana - Official Video

Dexter Navy presents how Sampha is touched with a special kind of magic in the video for Only.The acclaimed singer-songwriter begins bending reality when&nbsp;he studies a book titled LAHAI - the name of his forthcoming, long-awaited second album - and then ponders his reflection. When he ventures into the outside world he finds himself capable of all kinds of otherworldly powers, sometimes struggling to control them.A number of magical moments arrive in an understated fashion - which seems a perfectly pitched visual metaphor for Sampha's talent. And it makes it more impressive with every viewing.

Dexter Navy

Soul

Sampha 'Only' by Dexter Navy

SAMPHA [ONLY]

Jocelyn Anquetil directs a whimsical promo for the return of Archie Marshall, aka King Krule.&nbsp;The video for Seaforth opens with a montage of sleeping faces, including Marshall's own, before the illusory setting is washed away in a dusty haze. There is the dreamlike sensibility of a number of previous, supercool King Krule clips - but what follows in Seaforth is a definite sea-change.From Archie pondering the world on a sandy beach and in his country cottage, the focus switches to two Labrador dogs - mother and cute puppy -&nbsp;and their encounters with the human world. And the absurdity of it - cute pets in a King Krule vieo - is what makes the&nbsp;viewing experience so fun.&nbsp;Shot in&nbsp;both HD and lo-fi Mini DV, the video has a random, nostalgic aesthetic, and makes very good use of dog footage. We can only suspect that the experience on-set wasn't quite as laidback and charming as the final result...[imgtoken data:1]&nbsp;

Jocelyn Anquetil

Nnena Nwakodo

Stitch Editing

CHEAT

Singer songwriter

King Krule 'Seaforth' by Jocelyn Anquetil

King Krule - Seaforth

Leo Leigh's debut video,&nbsp;for Thom Yorke and Jonny Greenwood's new project The Smile, is a singularly intense experience. Leigh more or less dispenses with the causes of a trauma to confront the viewer with the harrowing results. You can only watch and wonder why - while listening to the altogether more gentle Free In The Knowledge.There are a couple of remarkable performances in the video, demonstrating distress and anguish in such visceral ways that it's hard not to think that some genuinely bad stuff happened just prior to when the camera started to roll.Halfway through, there are glimpses of exposition, snatches of other characters, and a ritualistic ceremony, suggestng the power dynamic of&nbsp;this haggard forest tribe. But it's those first two minutes that leave the most powerful impression.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;

Leo Leigh

Kodak

The Smile 'Free In The Knowledge' by Leo Leigh 

The-Smile-'Free-In-The-Knowledge'-by-Leo-Leigh-

Thom Yorke collaborates with director Mark Jenkin, and takes on an extraordinary role, in the new video for The Smile, Yorke's new project with Jonny Greenwood and Tom Skinner.Yorke plays a miner, working deep underground, in the video for Skrting On The Surface - directed, shot and edited by Jenkin, the BAFTA award-winning director of lo-fi, no-budget Cornish-set drama Bait, and created in the same homespun, tactile way as that remarkable film.Jenkin has described the video as 'a subterranean road movie', which was shot on location within&nbsp;a real Cornish tin mine. Yorke plays the lonely miner pushing a skipful of rock through gloomy&nbsp;tunnels, his&nbsp;toil made mesmerising by Jenkin's remarkable use of film, where the grain, abrasions and markings on the stock itself become part an integral part of the story.As with all of his films - including for <a href="https://www.promonews.tv/videos/2022/02/01/smile-smoke-mark-jenkin/74762" target="_blank">The Smoke</a>, his previous video for The Smile - Jenkin hand-developed the footage, shot on&nbsp;black and white 16mm stock. In this case,&nbsp;he has used the water from the mine itself in the developing process, which not only pays homage to a venerable location, but also ties in with the theme of renewal at the heart of the video - when its revealed that Yorke's toil is for an altogether surprising purpose.And Jenkins' unique style also&nbsp;works, of course, as a brilliant means to showcase Yorke's unique&nbsp;screen charisma. He has made a significant contribution in making so many great Radiohead videos, and this one stands up with the best of those.[imgtoken data:1]&nbsp;&nbsp;&nbsp;&nbsp;[imgtoken data:2]&nbsp;&nbsp;

Mark Jenkin

Bullion Productions

The Smile 'Skrting On The Surface' by Mark Jenkin

The-Smile-'Skrting-On-The-Surface'-by-Mark-Jenkin

For their previously unreleased song Follow Me Around, Radiohead have a wonderful new video by directing&nbsp;duo Us -&nbsp;Chris Barrett and Luke Taylor - starring Guy Pearce. He plays the hapless victim of a particularly tenacious insect - and we, the viewer,&nbsp;are that pesky bug.&nbsp;A simple idea is transformed by Barrett and Taylor's brilliant employment of up-to-the-minute tech. And indeed, minute tech: the entire video is shot on a&nbsp;tiny drone&nbsp;that speeds through London streets, and through tiny spaces, and finds its way to Pearce's East London home - where the relentless attack&nbsp;by the bug begins. Everything we see comes from insect-POV, as we witness Pearce's increasing desperation and panic.[imgtoken data:1]Us were inspired to look through the mini-critter's eyes, having spent a summer combatting mosquitos. They were also inspired by&nbsp;footage of tiny drones that can go through anywhere at speed.&nbsp;With the brilliant casting of Pearce, Barrett and Taylor have also elevated the concept further, adding a level of ambiguity&nbsp;where surveillance, paranoia and the humble mosquito meet.&nbsp;The formatting of the camera was made to emulate both the period of the song, with its lo-fi 420p resolution, and also the idea of surveillance cameras, as well as the erratic and somewhat flailing camp of vision one imagines a mosquito’s to be. Married with Guy Pearce’s outstanding acting, the sparse visuals are meant to make the viewer feel as uncomfortable as the character on the screen.&nbsp;[imgtoken data:2]And why is Pearce being targetted?&nbsp;We really can only guess, as the one thing we cannot see is the attacker itself - is this actually an insect, or perhaps another form of Bug...It is of course perfect for the lovely song Follow Me Around, a live favourite which dates back to the era of OK Computer,&nbsp;that Radiohead are only now releasing, on the new Kid A/Amnesiac sessions project. This one goes direct to the pantheon of great Radiohead videos.&nbsp;&nbsp;

Chris Barrett & Luke Taylor

Final Cut

Mouthpiece

Radiohead 'Follow Me Around' by Us

Radiohead-'Follow-Me-Around'-by-Us-(chris-Barrett-&-Luke-Taylor)

Kasper Häggström creates a brilliantly absurd satire for this&nbsp;previously unreleased Radiohead track.​A spectacularly surreal&nbsp;premise is delivered in the Norwegian&nbsp;director's&nbsp;characteristically precise and measured fashion&nbsp;-&nbsp;people in suits are standing in fields, moors and woods - like grazing animals - being rounded-up&nbsp;by a trio of&nbsp;farm hands. And this leaves the viewer plenty of room to ponder the significance&nbsp;and symbolism of&nbsp;they are witnessing.[imgtoken data:1]Ultimately, it turns out that these creatures are being returned to what would be regarded as their natural habitat - a timely comment on the post-lockdown moment and rush back to 'normality'. But by this point you may be sighing with relief.Radiohead have taken Häggström into a darker level of comedy&nbsp;than&nbsp;we have seen in his previous videos, which is a fascinating development. He looks like a very good match for the great alt-rock&nbsp;band.&nbsp;&nbsp;

Kasper Häggström

Dominic Leung

Radiohead 'If You Say The Word' by Kasper Häggström

Radiohead - If You Say The Word

Having collaborated with Headie One and Fred again.. on her latest release, FKA twigs has collaborated&nbsp;with director Emmanuel Adjei on the magisterial video for Don't Judge Me - a metaphorical exploration of&nbsp;the experience of being Black and British today.This is&nbsp;a double whammy of two distinct sequences that have their own riveting quality, and then weave together towards the greater message. Like most things created by twigs and Adjei - directors who are working together for the first time -&nbsp;they gradually create&nbsp;an indelible&nbsp;impression.[imgtoken data:1]On the one hand, there is twigs herself, sitting in a chair&nbsp;a grand room in a grand English house. But can she escape what reveals itself to be a gilded cage. Before she can get through the door of the room, unseen forces drag her back to the chair. When she negotiates the door, she only gets so far before flying back to her first position once again. It's a continual struggle, which increasingly calls upon angular choreography as well as wirework.&nbsp; &nbsp; &nbsp;And then in a mysterious counter-scenario to twigs's struggles, we are taken into another scene, the details of strange and shocking&nbsp;sculpture, and the people surrounding it. The artwork is Kara Walker's fountain sculpture Fons Americanus, a&nbsp;satirical take on a classic Victorian mode of art, cast in concrete - which has exhibited at the Tate Modern in London. The cast around the sculpture are eminent Black Britons - listed below - who have shared a particular struggle, shaped by&nbsp;cultural, systemic and structural biases,&nbsp;to be who they have become.[imgtoken data:2]"From someone’s appearance, we are unable to judge whether a person discriminates over colour, sex, religion, or gender," says Emmanuel Adjei, talking about the theme of The Invisible Oppressor, which has informed the video for Don't Judge Me.&nbsp;"The oppressors within the people surrounding us, most often remain invisible until their abuse against others is revealed. This is one of the reasons why, for generations, discrimination is so hard to fight. Who must the victim fight against if it can’t identify the perpetrator?[imgtoken data:3]"In this audio-visual document we get to witness artists FKA Twigs and Headie One, amongst other Black British influentials, fighting against invisible forces of judgement and oppression. Having the enormous Victorian-inspired fountain 'Fons Americanus'&nbsp;by visual artist Kara Walker - depicting the historical, sorrowful story of slavery and colonization - as our setting, and particularly as the spirit of the film, this important monument creates another layer of depth and meaning to an invisible yet shared history."

Emmanuel Adjei

FKA Twigs

Matt Newman

FKA twigs, Headie One, Fred again.. 'Don't Judge Me' by Emmanuel Adjei & FKA twigs 

Fka-Twigs,-Headie-One,-Fred-Again...-'Don't-Judge-Me'-by-Emmanuel-Adjei-&-Fka-Twigs-

Scott Wright

Commissioner

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