Douglas Reddan directs a riveting dancehall-inspired video for the returning Mahalia's new single Instructions. The Irish dancer and choreographer-turned-director brings the Jamaican energy of Mahalia's song to the screen in a London warehouse scenario that vibrates with excitement. Featuring an array of dancers and cast and a feelgood vibe - everyone literally rocks to the left and the right - the R&B singer finds herself drawn into the scene and the euphoria of her surroundings.Continuing the momentum of his recent work for CMAT and Say Now, it's another step up for Reddan - who was also recently nominated for two Young Director Awards in Cannes, and has now signed to Hurry Sundown for music video representation.

Argentinian director Julita Conde, known for her mixed-media combination of live action and animation for music videos, commercials and short films, has signed to Blinkink for global representation outside of Latin America.Conde is a director who merges animation with live-action, working across stopmotion, 2D and CG. She has directed videos for artists like Trueno, Aitana and BZRP (above), and led creative direction for Emilia Mernes' album .MP3 and international tour. Her short film Espinas and Lit Killah's My Bag have won international festival awards. She has also worked with Disney, Viacom and El Corte Ingles, and shared her expertise at festivals and universities across Latin American and Europe."Years ago, when I was just starting out directing my first projects, it was a common notion that, in order to build a career, I had to specialise in one technique," says Julita Conde. "However, I like to think of the projects so that the chosen techniques are the ones that best fit the message I want to convey. Back then, I saw hope in Blinkink. I think they're masters at it. We both have a mixed-media style, and I'm thrilled to work with a team that values that creative process. We're going to have fun!"• Watch Julita Conde's showreel work at Blinkink here

Riffy Ahmed's visual for Kuwaiti-born artist Etaf celebrates being an Iconic Cool Arab, with arm wrestling and hanging with their friends.The vivacious video for Hey Habibi was shot on a shoestring but with evident enthusiasm and love, and a celebration of a SWANA/MENA queer community.

Rita Ora's latest is very appropriately, a beach-set sizzler, directed by Justin Daashuur Hopkins - and the video is just part of a larger campaign of connected visuals.With Rita sunning herself on an LA beach accompanied by a cast of larger-than-life characters - including dowager-age sun worshippers, musclebound weightlifters and retired movie moguls - Daashuur Hopkins assembles a series of humourous vignettes that have translated across formats, from the video to photos to 'Micro Films' that have teased the song Heat on socials."After looking through Rita’s detailed mood boards, I kept coming back to the idea of people watching," he says. "The beach is such a fascinating, equalizing ecosystem. everyone loves the beach, but everyone 'beaches' differently. It’s a place where all sorts of colorful characters emerge: sun-worshippers overdosing on vitamin D, retired businessmen with big bellies and zero shame, bronzed buns and rippling flesh on full display. It’s the absurdity of leisure."We aren't the first to notice this. We were inspired by photographers like Martin Parr and Alex Webb who found beauty and humor in these everyday performances - those candid, unfiltered moments that say so much without trying to say anything at all."EP and creative director Dilly Gent says at her company Son & Heir "we specialize in transforming that same budget into a series of visuals designed to live longer, travel further, and resonate deeper. Leading the charge is the small but mighty Micro Film. We recently had the chance to work with Rita Ora and her team, creating a whole series of Micro Films, a music video, press shoot, album and single artwork, plus all the marketing assets. All for not much more than the cost of one music video.""As we all know the beloved music video that has given so many directors and musicians there creative start in life has lost it’s foothold. What was once the heart of a single release has become a fleeting asset, often forgotten within a week as audiences demand more. That’s why it no longer makes sense to invest the majority of a visual campaign’s budget into the traditional music video."

Sel Maclean's video for indie artist Lizzie Esau crafts a compassionate look at the landscape of isolation and depression through narrative and performance.Maclean focusses upon a young man (played by Aaron Markwell) trapped in a cycle of dysfunction, a cinematic counterpoint to the shoegazey tone of the track Day In The Life. Then his world splits from gritty reality, when Lizzie Esau becomes his companion, the observer of his situation. "Day In The Life explores the mental landscape of isolation and depression, where intrusive thoughts are amplified through the megaphone of loneliness, trapping us within our own echo chamber," says Maclean. "It traces the fault line between solitude and despair, revealing how each quietly sustains the other in a cycle that feels both invisible and unbreakable."

James Ogram reunites with alt-rock band Famous to direct an 'impromptu' dance piece. With stuttering slow-motion and motion blur abound, the video sees Alesh Compton listening to and dancing to the track for the first time."I'd had this idea knocking around in my head for a little while," explains Ogram. "When the opportunity came to execute it, I wanted to make it simply and earnestly with my friends. I've worked with professional dancers before, but the idea and the song called for something more organic."We just went down to the end of my road, Alesh put the track on and he danced. We did four takes."