Music videos came to the big screen at a packed Prince Charles Cinema in London's West End last Thursday (May 8th), as Music Video Preservation Society debuted at the legendary independent cinema, featuring director Luna Carmoon as its special guest. Carmoon talked to MVPS's host, Promonews editor David Knight, about the three outstanding music videos she has directed in past few months for Irish band Fontaines D.C., following the release of her electrifying debut feature film Hoard last year. The South London director charmed a rapt audience as she revealed how she came to direct the trilogy, as well as talking about her unconventional route to becoming a director.Above: Luna Carmoon on stage at Music Video Preservation Society at The Prince Charles Cinema, May 8th (photo: Ben Meadows)Her three mesmerising Fontaines videos - for Here’s The Thing, In The Modern World and it’s Amazing To Be Young - starring Grace Collander and Ewan Mitchell - were shown in full, as the central part of an eclectic programme of pop videos spanning from the late 70s to the present day. There were music videos by pioneering but barely recognised female video directors, British girl groups, a birthday tribute and iconic videos of the 70s, 80s and 90s - including the new fully restored 4K version of Prodigy’s Firestarter, directed by Walter Stern. As well as Luna Carmoon's Fontaines videos there were five more videos from the past year or so, showcasing the range of creativity in music videos today. After three shows at The Mildmay Club at Newington Green in North London, it was the first meeting of Music Video Preservation Society at The Prince Charles, the independent cinema that has just been made an Asset of Community Value by Westminster Council in its continuing campaign to secure its future at its home in Leicester Place, off Leicester Square. Westminster Council announced their decision in a letter on May 1st, stating that “the Prince Charles is distinguished from other local cinemas by means of its independent ethos, unparalleled programming and a close relationship with the local community.”• More information on the videos screened at Music Video Preservation Society on May 8th, plus details of the next show, coming soon here.

Alex Leggatt has delivered a hugely accomplished, stirring video for the return of singer-songwriter Tom Odell.With creative direction by Phil Lee at Untold Studios, Leggatt's video for Don't Let Me Go resonates with the song's themes of vulnerability and longing as it combines stylish, abstract art direction with realism and Odell's heartfelt, deeply emotive performance. This is very powerful indeed, with a notable contribution from DoP Kai Blamey Nguyen, who used in-camera techniques to create impactful time-lapse footage, and creative use of anamorphic lenses - with Odell moving in and out focus, a device that underlines his emotional turmoil. “We are so happy to continue our creative relationship with Tom Odell," says Lee. "He and Alex had a vision that we helped bring to life. And wow, was it worth it."

Troy Roscoe reunites with Burna Boy to capture the superstar's new Jamaican-influenced musical direction with Sweet Love.The video focusses heavily upon Burna's charismatic performance of the reggae-infused track with full band, intercut with scenes from a Jamaican family get-together, where a feast is followed by dancing - and a game of dominoes.Troy reveals that these scenes were drawn from personal experience. "Working on Sweet Love was a special one for me," he says. "It was great to be reunited with Burna Boy, and what a track to come back on!"The reggae vibe of the song felt like home. Being Jamaican myself, it gave me the chance to tap into memories from my own childhood and translate that energy visually. Those personal influences blended perfectly with the tone of the record."But the real highlight was Burna’s performance. He’s electric on camera—effortless, magnetic, and full of presence. That star quality shines through and makes directing him a genuine pleasure."

Femi Oladigbolu dramatises singer-songwriter Myles Smith's personal story of family breakup in the video for My First Heartbreak.A young man walks through an empty house and finds an old-style phone with answering machine, playing the message from a father to his sons. The man then becomes his younger self, listening to the message for the first time. The memories of the adult and the experience of the child are intertwined, which underscores the traumatic experience of the story of a father abandoning his family. "I was truly moved by the vulnerability in the track," says Oladigbolu. "Its raw honesty wasn't too distant from my own experiences. I felt a deep connection to the lyrics and sought to weave that same truth and relatability into something his audience could genuinely feel."

Tony Yacenda directs a breezy and heartwarming fly-on-the-wall promo for Selena Gomez and Benny Blanco. Through a nostalgic lens, Yacenda offers a glimpse behind the scenes as Blanco plans a surprise prom for Gomez - who is his fiancée.The video follows the pair from a mall photo shoot to their limo ride, all the way to their fully-decked out prom - capturing each moment with warmth, humour and cinematic charm.It's an arrestingly intimate and lowkey affair, with dreamy filters and a blend of documentary and music video structures, using dialogue and cutaways to elevate the concept. Lovely work indeed, and a lovely insight to Selena and Benny's relationship.

Heini Susanne directs a neon-drenched promo for Finnish rapper NCO, telling the story of a taxi driver’s night in an unnamed city. Combining narrative and performance, the video for Ei Rakkaut was shot across two nights in Lisbon, set against liminal locations like corner shops, gas stations and bars.The cinematography gives the video a warm, inticing atmosphere. Moody yet colourful visuals by DoP Noa Korhonen complements the dark but playful mood of the song with orange and green lighting hinting to the albums theme colour orange.Shot with a Sonyfx6 and Nikon Nikkor vintage lenses, with the use of Lensbaby effect lenses to depict the various states of intoxication of the partygoers, it's chaotic and hypnotic. A perfect match to the bouncy vibe of the track - anchored by a playful performance from the artist himself.