HAIM return with a sumptuous video by Camille Summers Valli for the first single from the sisters' first album since 2020.It's Summers Valli's first promos since her acclaimed work for METTE in 2023 (including Mama's Eyes, winner of Video of the Year at the UKMVAs). As with those for METTE, the director employs her considerable powers here to draw the viewer into a powerful and intimate experience with the band's lead singer Alana Haim.The video for Relationships brings us into the world of Alana and her sisters - and into the euphoria of Alana's affair with her lover, played by Drew Starkey. This is portrayed at a cinematic level consistent with a movie or high quality TV drama, and HAIM are clearly comfortable in this territory. After all, they have been regular collaborators with Paul Thomas Anderson and Jake Schreier.But there is nothing in the sister's fine canon of music videos which is quite as frank and sensual as this, nor does it forget its function as a music video. The effect is stunning.

Suzie & Leo, among Yung Lean's longtime collaborators, create a visually striking exploration of resilience and transformation where the Swedish rapper becomes the target for a huge throng of arrows.The video for Babyface Maniacs, places the artist in a surreal wasteland and as he moves steadily forward, the arrows come, piercing his body - so he ends up as a human pin cushion. But still he steadily moves forward...[imgtoken data:1]Shot on location in a haunting Moldovan construction site and enhanced through practical effects and 3D modeling, the film blends mythology, sculpture and sci-fi minimalism, whilst also drawing upon the biblical tale of Saint Sebastian - a notable subject of Renaissance painting. Echoing themes of the fallen hero, the piece portrays the internal and external battles of an artist who refuses to surrender. A deeply stylized palette, icy blues mirroring Lean’s eyes, reinforces the dreamlike, melancholic atmosphere.With references ranging from Gustave Doré to Truffaut, and a subtle nod to Bergman, Babyface Maniacs embodies a poetic collision of vulnerability and strength, guided by an uncompromising creative vision.

Viagra Boys' Sebastian Murphy has a new girlfriend, and she's 3000 years old, in Eoin Glaister's video for Bog Body - a tour de force of comedy horror. Glaister essentially tells the story of the song, and as he happily admits, the subject matter plays to his particularly strengths as a director.In classic VB fashion, the track combines surly rock 'n roll power with a idiosyncratic lyric sung by Murphy - it involves a description of an ancient body being found perfectly preserved under ice in a bog, leading to his immediate adoration - and possessiveness. Eventually he insists that 'You're just jealous of her darkened skin and her dainty nose'.This quirky concept all the motivation that Glaister needs to bring a unique love story to the screen, which starts when the reanimated zombie-like Bog Body walks into a London boozer, and begins her ancient dance ritual - before Seb enters the pub whilst she's doing full splits on the pub carpet.And so their passionate affair begins, with the well-preserved ancient woman acquiring the taste for a rock 'n rolll lifestyle. What could possibly go wrong?“I love bog bodies," says Glaister. "I’m obsessed. Thank GOD someone finally wrote a song about one. Dream gig really, got to spend the day in the pub with my mates watching a Bog Lady dance to one of my favourite bands. Mammoth effort from an extraordinarily talented bunch. Up the Bog!”[imgtoken data:1][imgtoken data:2][imgtoken data:3]

The ELMNTL colourist makes a plea for better communication with creatives, reveals Swift-related fun times - and his teeny obsession with Wicked...Over the past few years Henry Howard has made his mark as a versatile and sought-after colourist in fashion, commercials, and music videos. His passion for colour and meticulous attention to detail have led to collaborations with top agencies, including BBH, Havas, Leo Burnett, and Wieden+Kennedy.After a successful freelance stint, Henry joined ELMNTL two years ago, fully immersing himself in the start-up studio's creative environment in Shoreditch when it launched. And his portfolio reflects a refined approach to grading, with standout work for brands such as Gucci, De Beers, and Dior, alongside Adidas, Nike, Paddy Power, Audi, ASICS, and Tesco. His ability to elevate visuals while remaining true to the creative vision is also evident in his work with music artists like Headie One, High Vis, Skepta and Ed Sheeran.Beyond commercials and music, Henry’s dedication to storytelling extends into feature films, most recently completing work on Jamie Flatters' Shoulders, set for release in April. As ELMNTL moves into its third year, he’s excited to continue pushing boundaries and shaping bold, innovative visuals - so a very good time to catch up with him via the SNAPSHOT Q&A.Name: Henry HowardBirthday: October 23rd 1992Where did you grow up? The now seaside City of SouthendPlace of further education and course (if any)? Film & TV Production at Buckinghamshire New University.Where do you live now? South of the river (Croydon), much to my father’s distaste.MTV was always on in our house, so promos became a huge influence.Name a film or video or other creative work that had a huge influence on your career choice? I grew up with five older brothers so I was subjected to a lot of 80s action movies such as Terminator, Rambo and The Warriors. MTV was always on in our house, so promos became a huge influence. My eldest brother once made me watch all of U2’s music videos. No one needs that much Bono in their life.A film that left a lasting impact on me was In Bruges. It was the first time I saw multiple genres seamlessly blended - comedy, drama, romance, and action. Really ahead of its time.[vidtoken data:0]In terms of promos I distinctly remember being blown away by Foals' Late Night video by NABIL. I’d never seen a video like that and it sent me down a rabbithole of consuming videos akin to a similar style. Great to leave Bono behind.What were the important first projects for you, in terms of a learning experience and being noticed, or a foothold in the industry? I did a lot of freebies from Mandy.com which can expose you to interesting characters. It helped a lot to develop styles and you were exposed to not-great cameras so definitely worth the challenges early on.A stand out was probably a ‘Lyft’ campaign starring Nigel Sylvester and narrated by LeBron James. I follow basketball quite a bit so to be on a project that involved LeBron early on in my career was incredible.[vidtoken data:1]Best film(s) you saw last year? Wicked - hands down. I also loved The Holdovers, the film emulation is phenomenal! Past Lives absolutely floored me. All Of Us Strangers and The Substance as well... but yeah, mainly Wicked.[imgtoken data:1]Favourite song/album/music artist in the past year? Alligator Bites Never Heal by Doechii has been on repeat at the moment. She’s incredible! The consistency of what she’s releasing is remarkable and her rise has been so inspiring. I had the pleasure of working on a lot of sandy crow projects this year and I can’t lie, each track has been a banger especially Handgun Wisdom. And the Wicked soundtrack, of course.[vidtoken data:2]Favourite music video/videos in the past year? Miki Matsubara ’Mayonaka no Door - stay with me’ by The Fridman Sisters. Like many, I’m really into Japanese aesthetics right now. The Fridman Sisters made this beautiful, intimate film with such a joyous energy in the performance. It was great to see a classic song get an updated video, hopefully see more like it in the future. [vidtoken data:3]What was (or usually is) your favourite night out last year? I reluctantly admit… The Eras Tour. My wife is a massive Swiftie, which now means I’m a massive Swiftie too. I was surprised at the amount of songs I knew by heart. And yes, I got a T-shirt.Also, the UKMVAs is a really great night to recap and celebrate the work put out in the last year.In terms of the music video-related jobs of the past year or so, what were the most rewarding creatively, and why? I really loved working with sandy crow, as mentioned before. It’s the music project of actor Jamie Flatters and the sound reminded me of late Noughties indie. His videos also complement his style really well. [vidtoken data:4]High Vis’s Minds a Lie was also up there. I’ve collaborated with the band since their first videos and it's been great to see them grow. Martina Pastori did an excellent job directing. Her portrayal of male loneliness and isolation of the working class was spot on.What are your favourite other (non-mv) projects of the past year or so? My favourite would have to be the ASICs campaign I did with Liswaya and Nakama. Liswaya made such a stunning film and it was an honour to be a part of it. It was mainly for the Japanese and Asian market so it was a great experience and to see the work and dedication they put into the project![vidtoken data:5]What’s the most surprising thing that’s happened last year? Wicked not winning Best Musical at the Golden Globes.A lot more can be done... to make senior roles more inclusive.Most annoying/irksome thing that’s been going on this year (work-related or otherwise)? I feel that we’re still lacking in diversity within our industry. A lot more can be done by companies and hiring managers to make senior roles more inclusive. In order for us to progress we need more opinions and perspectives from a variety of class, race and gender otherwise we will plateau and not progress - which is what I think is apparent in many mainstream pockets of the industry. Your top suggestion to change and improve how the music video industry works? Right now, there’s too much red tape between artists and creatives. I find it difficult to speak directly with directors - perhaps a lingering effect of Covid. But greater collaboration and open discussions about creative approaches are essential. Most of the time, I don’t speak to the director until the day of the grade. While we all have busy schedules, a quick ten-minute introduction could do wonders for the creative process.I continue to push for early discussions between artists and directors on ideas and creative approaches, but this doesn’t happen as often as I’d like. We all have busy schedules, but a quick ten-minute introduction before a session can do wonders for the creative process. If a meeting isn’t possible, even a voice note can help establish creative alignment early. It’s all about collaboration to make the work as strong as possible—well worth the investment of time!What are you looking forward to for the rest of the year? Wicked Part 2• Henry Howard is senior colourist at ELMNTL; watch more of his work here