Fa & Fon bring back the heat and strike again with their second promo for Indonesian girl group no na.Following the high-octane antics of Work, the girls return with another pulsating studio-based video for Rollerblade. And it's once again focussed on another dazzling display of slick, high energy choreography and irresistible performance - this time on rollerblades (well, at least some of the time).From high-angle perspectives through to BTS vibes with the crew working in the background, it's a confident visual treatment with a fresh energy. Another hit from Fa & Fon, and a real earworm of a track.

Thomas Harrington Rawle directs a hybrid VFX film blending live action and CGI, exploring the alien order within the everyday, for up-and-coming artist and producer Daisy Maybe. Control is relinquished and identity dissolves in Rawle's video for Daisy Maybe's Box With God. Unexpected things happen in Daisy's unexceptional bedroom, where bodies are sprawled, somewhere between fully human and mannequin, their faces stripped away and organised by an unseen force. What begins as a recognisable human space gradually mutates into something far more alien and collective.This is a disquieting world, evoking a nostalgic, body-horror vibe. In pace with the undulating track - and anchored by Daisy's sensual performance - ritualistic symbols etch into flesh as the visual builds to an otherworldly climax. Echoes of Invasion Of The Body Snatchers emerge in the transformation of the cast, as human forms are subtly reconfigured into a unified, otherworldly entity. Multimedia artist Thomas Harrington Rawle developed the film in close collaboration with producer Esme Creed Miles, drawing upon his interest in rituals embedded within the everyday, and in the idea of external forces quietly shaping behaviour. It was shot in a traditional way with a live cast and a single location, before being intricately reconstructed in post through a hybrid VFX pipeline led by Rawle and collaborator Cathal James McKeon.I liked the idea of filming a real cast and changing their faces and bodies to make them more alien.Combining CGI and compositing, the footage is fragmented and reassembled into shifting, unstable compositions such as moving collages that extend the physical space into something far more expansive and psychologically charged. Rawle treats creative technology as a mechanism for distortion with this film, bending the familiar into something where the boundary between human and constructed begins to collapse.With Box With God, Rawle continues to explore the tension between control and surrender, delivering a film that sits between music video, installation and speculative fiction, a work less concerned with storytelling than with building a system the viewer is drawn into."Esme Creed Miles reached out to me and asked if I wanted to do a video for Daisy," says Rawle. "I was into the track and they were happy to let me basically do whatever I wanted - which is a rare thing so naturally I jumped at that chance."The track is called Box With God, so I guess I organically fell into thinking about control and order. I've always been interested by how animals can control other animals both consciously and unconsciously. I liked the idea of filming a real cast and changing their faces and bodies to make them more alien."I always loved Invasion Of The Bodysnatchers - specifically the one with Donald Sutherland - so I thought it would be interesting to explore a body transformation situation in which a series of bodies are controlled by a central conductor for some kind of transformational purpose."In my mind I thought about it a bit like there was some external force that needed a group of people to merge so it could utilise their combined and specific brain power to shift into some other dimension."

Paris-based director Elisa Baudoin directs an effervescent promo for French pop star Maëlle - packed with Y2K nostalgia energy. The video for Tic Tac - a song about desire, attraction, and the charged tension between two people - marks a bolder, more direct chapter in the career of Maëlle, winner of The Voice France aged 17 and a pop star in France ever since. And Baudoin's visual approach matches that energy beat for beat.It's a full Windows 98 nostalgia trip. Blue Screen of Death, Explorer windows tiling multiple shots at once, MS Paint canvases, drone crosswalk footage repurposed as desktop wallpaper... The Paris-based director builds a retro aesthetic that feels anything but nostalgic for its own sake.It's a hyper-vibrant fever dream of floating windows and textural cityscapes, blurring our reality and online lives with editorial flair. The lo-fi, mixed-media framework becomes an unexpected vehicle for the song's tension and heat.Baudoin and Maëlle are longtime friends and collaborators, and with Baudoin also taking the lead on editing and VFX, she says that the creative constraints of the project became its defining quality."In music video, budget constraints have always been one of the more interesting creative drivers," explains Elisa Baudoin. "We could move fast, try things, throw them away. There's no room for overthinking when you're working like that."The lo-fi texture fast became the point but I really wanted it not to feel like a gimmick and I think you feel that energy in the final cut,"

With the help of tennis great Andy Murray and the music of Memotone, James Humby takes a refreshingly different approach to often predictable field of sports footwear advertising for Hylo.Directed by Humby and co-produced with Intergalactic Studios and Untold Studios, the project is a humorous and impactful promotion of the expanding relationship between Andy Murray and Hylo, the performance shoe using bio-based materials including corn and castor beans.With deadpan, tongue-in-cheek humour - an approach the director has applied successfully in his Molten Jets live music series (as Ja Humby) - the film draws on Andy Murray and Roger Federer’s well-known rivalry as a springboard for a playful clash between Hylo and its more established competitors.There is an unpolished, behind-the-scenes feel as Murray is presented at a press launch for the new Hylo shoe where, to his frustration, the press only want to talk about his on-court rivalry with Federer, the tennis legend now associated with rising Swiss sportswear brand On.Titled It’s Not About Him, the film uses this dynamic to cleverly subvert expectations, turning sporting rivalry into a comedic device that drives attention to a product built not just for output, but with material innovation and environmental impact in mind. And Humby's mockumentary-style approach, completely different to a traditional brand campaign, underlines the statement that the future of performance wear is sustainable. “I’m drawn to things that aren’t immediately obvious, so leaning into Andy’s dry, deadpan humour, the candid documentary-style approach, understated performances, and slower pace (than you’d expect from an ad) were ways of counterbalancing the slapstick with a sense of observational realism," explains Humby."Memotone’s music and Jake Ashwell’s mix helped to shape a kind of fever dream, reflecting Andy and Hylo’s anxiety around the partnership, with nods to Roger Federer’s successful investment in On serving as an inside joke for the runners these high-performance shoes are aimed at.”

The talented LA PAC and C41 director lives in Milan but would rather be in Paris, mainly listens to music by dead people and winning at the UKMVAs last year took her by surprise. Alice Fassi tells us about the work that defines her and reveals her maxim for bigger and bolder creativity. Name: Alice FassiBirthday: 25.09.94Where did you grow up? In Milano (unfortunately). Place of further education and course (if any)? SAE Institute in “Filmmaking” course. Where do you live now? In Milano. Trying to move to Paris again. Name a film or video or other creative work that had a huge influence on your career choice?Who Framed Roger Rabbit, for sure. I’ve watched it so many times since I was a kid, and it still surprises me every time. It’s just so impressive what they pulled off. That mix of animation and live action felt kind of magical to me, and I think it really shaped the way I see storytelling - the mix of 'grounded' and absurd.It really shaped the way I see storytelling - the mix of 'grounded' and absurd.What were the important first projects for you, in terms of a learning experience and getting noticed, or a foothold in the industry?I would say my music videos were definitely a turning point, especially Onions, by Cults. They wanted something with a horror-humour tone, inspired by Beetlejuice, which was exactly what I was looking for. It was the first project where I truly felt I could express myself 100%.Then my commercial for Salomon, which I shot last year in Georgia, was another key experience. It was a very fun project and allowed me to merge my love for fashion with a slightly more absurd, unexpected twist, which is something that really defines my work.And finally, my film for Vogue in collaboration with Maserati. One of my very first projects. It gave me the opportunity to express myself with choreography, entirely shot on 16mm film.Best film(s) you saw last year?I’ll stick to films that were actually released last year, otherwise the list would get way too long! I’d say: 28 Years Later, Bugonia, The Shrouds, One Battle After Another and Weapons.Favourite song/album/music artist in the past year?I mostly listen to music by people who are dead. So again let’s focusing on contemporary music: LCD Soundsystem, Sleaford Mods, La Femme, Fontaines DC, Future Islands. Would love to make a music video for any of them!In the US last summer... I felt like I was living inside of a movie. Favourite music video/videos in the past year? Doechii's Denial Is A River, Sabrina Carpenter's Taste, and pretty much all the A$AP Rocky videos. They feel like really fun characters to build a video around, and you can tell there’s a lot of creative collaboration there.What was (or usually is) your favourite night out last year?Oh, I had so many. I’d say all the nights where I actually experienced something, not just going out for the sake of leaving the house. In the US last summer, it all felt quite folkloristic. I felt like I was living inside of a movie. In terms of the music video-related jobs of the past year or so, what were the most rewarding creatively, and why?Last year I only shot one music video. It was for Joy Crookes’s track Carmen. Joy is such an amazing character and we were very aligned creatively, so the process felt smooth. It’s just a shame we couldn’t shoot everything we had planned, or fully realize the vision the way I had imagined it.Most annoying or irksome thing that’s been going on this year, work-related or otherwise?I feel like directors should be protected more. Sometimes we pitch against more than five other directors without even knowing it. Writing a treatment is a lot of unpaid work, and it’s frustrating to see that effort not being properly recognized.What are your favourite other (non-mv) projects of the past year or so?I would say my commercial for Salomon, which I mentioned earlier. Then Born To Create Drama, a short narrative film. That project was particularly exciting because we shot it in just one day, entirely on an iPhone, with a kid actor at his very first experience, and there was something really raw and honest about that. The film opened the YDA winners screening in Cannes last year which makes what we achieved feel even more surreal.And finally The Testimonial, a short film I directed for the 150th anniversary of Audemars Piguet, starring Pierfrancesco Favino. That experience was the complete opposite from the previous, in a way. It gave me the chance to work with a highly experienced actor, and to really explore how much you can play and even improvise when you’re collaborating with someone who has such mastery of their craft.What’s the most surprising thing that’s happened last year?Work-wise I would say winning the UKMVA with my music video Onions for Cults! I was so surprised I hadn’t even prepared a short 'thank you' speech.Your top suggestion to change and improve how the music video industry works?I would try to make the process more fluid. Everything always feels urgent, even before things properly begin. Since budgets are often very tight, having more time would really help in finding better creative solutions.What are you looking forward to for the rest of the year?Plenty of adventures and lots of super fun films!!!• Alice Fassi is with LA PAC in France, C41 in Italy, with represented for music videos in the UK by Hurry Sundown. Watch more of her work here.

Gabriel Moses returns with his first video since winning Best Director at last year's UKMVAs - an offbeat yet incisive commentary on Black life with a nostalgic lo-fi aesthetic for 21 Savage. As with his previous works, Moses rejects conventional narrative for a more instinctive approach. The video for Stepbrothers unfolds through a succession of lived-in moments, capturing the texture of everyday life with a quiet, unfiltered intensity. The film pieces together fragments of brotherhood, environment and presence, where meaning emerges through atmosphere, gesture and accumulation rather than plot.Boasting a lo-fi, almost late 20th century public access feel, the textural, VHS-style aesthetic lean into the off-kilter moments, and are the perfect container for the concept.