Choreographer

Alexandra Green

Directing duo Mathy &amp; Fran return to music videos with a very characteristic piece for Georgia's latest pop gem: sensitive, humane and pastel-hued. And it touches on a subject that many&nbsp;people have faced, literally and metaphorically.&nbsp;In the video for Give It Up For Love, a range of characters take turns to stand upon a high diving board, and are challenged to make an all-important leap.It's a relatable moment where personal courage is required, but given a metaphorical&nbsp;element by it's staging, on a bright yellow platform against a pastel-pink studio background. And when the characters start to leap, they are captured in mid-air, in a state of blissful freedom.It's a simple yet powerful concept to match the sentiment at the heart of the song - letting yourself go to allow love to come in.&nbsp;Georgia's empathetic performance helps tie the whole project together.[imgtoken data:1]&nbsp;

Ellen Amann Johns

Dilia Knobel

Emily Davies

Jonie Myburgh

Rhona Ezuma

Mathy & Fran

Natalia Maus

Lydia Martland

DOGEATDOG

Carrie Sutton

Leopold Neassens

David Bird

Danny Stoker

Andy Sauer

Jonny Lewis

Colleen Lee

Luke Moran Morris

Anastatsia Stylianou

Grace Sinnott

Marta Wozniak

Natasha Lawes

Meg Thorne

The Quarry

Jack McGinity

CHEAT

Domino

Phil Lee

Georgia 'Give It Up For Love' by Mathy & Fran

Georgia-'Give-It-Up-For-Love'-by-Mathy-&-Fran

KC Locke takes his motion-control ambitions to the next level, in the dreamy promo for Lola Young's So Sorry.&nbsp;In a conventional greasy spoon caff - the ominously-named&nbsp;Cruel Cafe -&nbsp;we find&nbsp;Lola Young playing a variety of different characters, on both sides of the counter, in an interweaving tapestry of narratives and slick camera moves.&nbsp;Technically advanced and head-spinningly complex, the video is anchored by the artist's down to earth performance style and authentic interpretation of each character she inhabits.&nbsp;It's another innovative promo for KC Locke and team, whose collaboration with Manchester-based G6 Moco has taken things up a notch once again.[imgtoken data:1]"After experimenting with motion control in 2021 across various projects I had been waiting for the opportunity to use motion control with a full track system," explains Locke. "We designed this concept with that in mind and wanted to create a video which allowed our camera to move around a set freely while telling a visual story."I've wanted to work with Lola Young for a while now and this was the perfect project to link up on. Lola was a pleasure to create with and I feel like we made something great here. The song So Sorry&nbsp;had this feeling of different personalities [so] after pitching the concept of multiple Lolas in her own End Of The F*cking World-style cafe, we got to work on bringing this to life.[imgtoken data:2]"Between Christmas and New Year's Eve when traveling to Thailand for our holiday, myself and Jenny O’Sullivan (production designer) spent many hours planning and discussing the creative and building a world for Lola. While I spent&nbsp;hours planning out each and every second of the motion control moments, Jenny spent equal time designing Cruel Cafe&nbsp;from the ground up while working remote with her art and set building teams."Once I had the whole video mapped out on paper, Andy Rider (G6 MOCO) then began to pre-vis the entire video for us. G6 MOCO’s dedication and attention to detail really helped in this process of really understanding what I had envisioned."The set construction came together beautifully along with the lighting direction by Stefan Yap (DOP) and Nick Platt (gaffer and Drop City owner) - the set really felt like a real cafe and gave the perfect backdrop for Lola to bring these characters to life."

United Kingdom

KC Locke

Lewis Nicholson

Marisa Garner Associates

Swords & Eagles

John Hassay

Nick Platt

Stefan Yap

Marisa Garner

Ella Taylor Palfrey

Luke Goodrich

Danny Usman

Martin Welsby

Jenny O'Sullivan

Richard Sloan

Sasha O'Neill

Alex Price

Jamil Shaukat

Alex Gregory

No.8

Lmntl Fx

Island Records

G6 Moco

Lola Young 'So Sorry' by KC Locke

Lola-Young-'So-Sorry'-by-Kc-Locke

To mark the release of her new album The Gods We Can Touch, artist Aurora and director Alexandra Green present an ethereal, experimental live experience.&nbsp;This is a trailer for the performance&nbsp;- which streamed digitally worldwide on the 25th January - and offers a rousing glimpse at the conceptual visuals, promising energetic dance breaks, otherworldly set design and breathtaking soundscapes.&nbsp;&nbsp;The livestream has already happened, but replays of the show can be purchased at&nbsp; https://www.momenthouse.com/aurora.&nbsp;

Nailah Clair Blissett

Bullion Productions

Joel Spencer

Kia Fern Little

Sarah Asmail

Fin Melluish

Jim Bracher

Decca Records

Experimental

Aurora 'A Touch Of The Divine' by Alexandra Green

Aurora-'A-Touch-Of-The-Divine-'-by-Alexandra-Green

Alexandra Green directs a powerful live promo for Nao's&nbsp;And Then Life Was Beautiful.Shot in one continuous take, the video features&nbsp;thoughtful cinematography and choreography which seamlessly intermingle to&nbsp;create an ever-evolving&nbsp;piece, placing&nbsp;Nao and her singers centre stage.Boasting a bright, spacious location and some simple yet effective set decoration, the video's aesthetic is fresh, contemporary and memorable.&nbsp;

Becs Rainey

Jack Newman

Steven Olubenga Eniraiyetan

Nanu Segal

OB Management

Lea Ogunlami

Sony Music

Nao 'And Then Life Was Beautiful' (Live) by Alexandra Green

Nao-'And-Then-Life-Was-Beautiful'-by-Alexandra-Green

Two rival motorbike gangs have a high stakes dance-off, in&nbsp;Joao Retorta's spectacular new promo for Royal Blood.&nbsp;Featuring cinematic action scenes and&nbsp;sharp choreography, the video for Limbo steams ahead at breakneck pace, whilst&nbsp;Jake Hunter's mesmerising cinematography captures&nbsp;the wonderful surrealism of Kiev and the industrial locations.&nbsp;It's an action-packed yet enigmatic&nbsp;video which feels like a trademark Retorta work, encompassing high-energy, high concept ideas with true flair and craftsmanship.[imgtoken data:1][imgtoken data:2][imgtoken data:3]

Joao Retorta

Tom Birmingham

Guy Fuhrer

Alex Savelov

Jake Hunter

Daniel Dubrovsky

Taff Williamson

Brendan Jenkins

TenThree

The Mill

Jennifer Ivory

Dom Mckiernan

Warner Records

Dasha Deriagina

2332 Films

Max Salo

Margarita Shekel

Slavomir Hilinskiy

Rock

Royal Blood 'Limbo' by Joao Retorta 

Royal-Blood--'Limbo'-by-Joao-Retorta-

Alexandra Green's video for&nbsp;French musician and producer Oklou is simple, cool, and exquisitely effective.Oklou, dressed in red, sits among black rocks in a blacked-out space, an otherworldly studio set. She performs her Mura Masa-produced song Entertnmnt to camera, as it rotates around her. That's it, more or less.&nbsp;But the contact between her eye and the camera, as it executes a parabola - moving away and then getting closer again as it circles around her&nbsp;- is transfixing.James Rhodes' camerawork is executed so that Oklou is always the centre of attention, while the set -&nbsp;an arrangement of rockery by art director Afra Zamara - is quite&nbsp;intriguing in itself.Overall this is a great example of director and choreographer Ally Green relying on the movement of the camera rather than the subject to grab the viewer's attention.&nbsp;

Scarlett Barclay

Tim Marshall

Wies Millenaar

Cem Aytacli

James Rhodes

AJ Golesworthy

Ky Brasey

Jim Knight

Afra Zamara

Tati Cotliar

Jess Summer

Jax Harney

Envy

Rebecca Townsend

Robin Pasricha

Cinelab Film and Digital

Oklou 'Entertnmnt' by Alexandra Green

Oklou - entertnmnt (prod. by Mura Masa)

Synchronised movement and stylised colour palettes translate into a powerful performance in Moss Kena’s Begging, choreographed and directed by Ally Green.Set on an isolated beach, a group of dancers styled in washed-out autumnal colours are moving in unison, tracking each other's movements as they walk single-file down the coast. Broken up by an emotional and intimate performance, Moss Kena does a great job of expressing complex emotion through extremely subtle facial expressions.&nbsp;Green's choreography is contemporary and reminiscent of the more aggressive/energetic dancing we have seen from artists such as Sia and Pink, where&nbsp;strength and raw emotion&nbsp;take precedent over aesthetic. Beautifully shot by&nbsp;Charlie Goodger, the location feels almost like a character in itself, due to some beautiful wide shots and unique composition throughout. It's a great execution for a simple yet effective concept.&nbsp;

Charlie Goodger

Minna Attala

Cut+Run

Envy Colour

Elena Argiros

Ministry of Sound

Moss Kena 'Begging' by Alexandra Green 

Moss-Kena-'Begging-'-by-Alexandra-Green-

Two Door Cinema Club get upstaged by&nbsp;ventriloquist dummies in the video for Once, directed by Mathy &amp; Fran.Fresh off the back of Au/Ra's Dance in the Dark, the directors have gone in a lighter, more quirky direction for this project. In the video, the group are being interviewed on a&nbsp;vintage variety TV show. However all the attention is on the puppets, not the band.&nbsp;As we see the grisly puppets get treated like stars, with their own glam squads, photoshoots and champagne, the group starts to get jealous, culminating in a gory climax to reinstate their independence. It's a bit of a shocker - but well worth waiting for...&nbsp;&nbsp;

Harry Flinder

My Accomplice

Imogen Harrison

Trevor Kelly

Jack Meredith

Jack WiIkinson

Adam Feeney

Sam Harding

Ben Austin

Alexandra Day

Sian Duke

Lucy Berry

Ten Three Editing

Tim Smith

Sean Spray

Two Door Cinema Club 'Once' by Mathy & Fran 

Two Door Cinema Club - Once (Official Video)

Mathy &amp; Fran return to music videos with this mesmerising piece for&nbsp;Au/Ra's instantly hooky Dance In The Dark. It's&nbsp;a sensation of synchronised movement and monochromatic art direction.The simple concept is haunting and ethereal, picturing a group of cast dancing and sprinting around Au/Ra - that's Jamie Lou Stenzel, another teenage prodigy of dark electropop - as she performs in a white infinity studio.The close-ups of the performance are hypnotic, and the presence of just one bright colour -&nbsp;Au/Ra’s turquoise hair-&nbsp;is inspired, ensuring our focus is always on her, especially in the darker scenes at the end. A simple idea, executed brilliantly - with choreography by Alexandra Green and a fine edit by Joce Hockings.&nbsp;

Germany

James Graley

Rosa Rooney

Toby Goodger

Josh Govett

Jamie Jarvis

Nina Robinson

Lucy Thomas

Joce Hockings

Ten Three

Vic Parker

Raised By Wolves

Alternative Pop

Au/Ra 'Dance in the Dark' by Mathy & Fran

Au/Ra - Dance in the Dark (Official Video)

It's been a long time coming. Samuel Taylor directed three videos for London fourpiece Superfood in the spring and summer of 2018&nbsp;- which unfortunately coincided with the band's&nbsp;break-up last year.Consequently it has proved to be a tricky business getting these three videos released for the director who has also directed notable videos for Bloody Knees, Magic Gang, Dirty Danger and Crows in the last year or so. But over twelve months later, this fantastic trilogy for the tracks Where's The Bass Amp, Natural Supersoul and Double Dutch is finally out.Sam Taylor tells us&nbsp;all about how he made these superbly uplifting, low-budget videos, that bring to life and visualise&nbsp;the defining impulse behind Superfood's&nbsp;music: it just makes you want to dance. &nbsp;&nbsp;SAMUEL TAYLOR:<blockquote>It all just kind of clicked, that&nbsp;it should literally be what the album feels like, which is wanting to dance.</blockquote>Essentially I came to Superfood pretty late. I met them and became mates with them before I'd heard their music. And having met them and then listened to their music, it was very clear: their music is exactly them.[Their last album Bambino&nbsp;came out in late 2017] I challenge people to listen to it and not want to move and dance to it. It's the most fun album you'll ever listen to.We would meet up and hang out, and I kept on saying, "We need to do something."&nbsp;And then I was listening to it one day,&nbsp;walking down to catch the Tube, and I saw a businessman, with a suit,&nbsp;briefcase and headphones.&nbsp;He was bobbing his head and walking down the street. And kind of doing this little jump off the kerb. And I was just like, "Wait, is he listening to this album as well?"&nbsp;He's moving in the same kind of way, and he must be dancing to this album.And it all just kind of clicked -&nbsp;a moment of like, "Oh, it should be dance." It should literally be what the album feels like, which is wanting to dance. So we picked the three that they wanted to do videos for. And I just wrote three very different stories, that all have this kind of link.&nbsp;I'm a big fan of that you can have dance, trying to not necessarily make it feel too real. In the sort of way that they would do it in a musical, like Singin' in the Rain, sort of chatting, but then the music kind of comes in, and then they start dancing. And I really like that sort of old school musical way of doing things.So we just applied that to all three, and kind of went for this approach. And also tried to get a nice range of ages, and range of sort of different places in society.Video: Where's The&nbsp;Bass Amp?[vidtoken data:0]Synopsis: A strait-laced London businessman finds it hard to keep himself from dancing as he makes his way around the City, while listening to Superfood...&nbsp;ST: With Bass Amp, Henry [Napier-Brown, the producer] got a street permit, and we went down to Liverpool Street first thing in the morning, with a load of rolls of 16mm film, with Jordan Buck (the DoP), and, few other mates – and Ally Green, the choreographer, and director in her own right, who's amazing.[imgtoken data:1]And we just kind of went down first thing in the morning with the guy, and just got him to listen to the track. And pretty much he just walked up and down the street.&nbsp;He hadn't really heard the track up to this point.&nbsp;And he had his own complete style. And Ally and I, we were just shouting out things to him as he was walking down the street. It was entirely improvised on the day. We just made it up as we went along essentially.<blockquote>Security got pretty lairy with us for shooting outside the NatWest</blockquote>It was all actually shot hand-held, because you couldn't put anything down. Security&nbsp;got pretty lairy with us when we were shooting outside Nat West building. So we just kind of carried on shooting. It was a day of bumping into businessmen, and trying to make mischief, essentially. It was fun.&nbsp;Video:&nbsp;Double Dutch[vidtoken data:1]Synopsis: The lovers on a park bench, overlooking London. A homage on the Hollywood musical, rather like a London version of the La La Land.&nbsp;ST: Double Dutch&nbsp;and Bass Amp were shot back-to-back, with basically the same team. We shot&nbsp;Double Dutch the day after Bass Amp.The location was this little gem of a view of London that Henry found out of nowhere. It's like a small park,&nbsp;up near Greenwich. It's kind of a bit hidden, but you get this viewpoint, where you can just see the entirety of London.<blockquote>We were absolutely blessed with that&nbsp;sunset</blockquote>I think we did two days recceing, driving around, trying to find the right place with a fantastic view. Obviously so many of them have been done before, like Hampstead Heath. We were trying to find something that hadn't really been shot before, and this was the last one we visited. We just walked up, and we were like: "Yeah, I mean this is definitely it."[imgtoken data:2]We got there reasonably early in the morning: just me, Ally, and the two dancers at first. We sat down on the benches, and worked out the thing in the day, so we had a rough idea of what we were doing. We did a bit of rehearsal, but basically we just sat there from 10am til sunset, and worked out the dance.This was in&nbsp;about April last year, and we were absolutely blessed with that sunset in that video. We had no idea it was coming; it was raining in the morning, and the weather was very up and down. It actually snowed about twenty minutes after we did the sunset take. Then we waited for snow to go, and then we put the spotlight on and did the night take.[imgtoken data:3]It was a really weird one, because I'm so used to talking during the shoot. If I'm operating the camera - which is quite often -&nbsp;I'm constantly trying to excite people, and be really involved in the process of creating the kind of movement of the scenes. But with this one&nbsp;I just sat by a monitor, and was just watching this amazing performance play out.Video:&nbsp;Natural Supersoul[vidtoken data:2]Synopsis: The little girl who visits the park playground with her mum, and is a bit ostracised from&nbsp;the others, but it all works out in the end...That one was done a lot later.&nbsp;We basically ran out of money after the first two – we spent it all on shooting on film. It always just seemed like the band weren't going to put them out any time soon, so we took our time with it a bit.&nbsp;I was like, "We don't have enough money to do another one on film, so how do we go about doing this third one?" In the end, it became&nbsp;a combination of iPhone 8 and&nbsp;Super 8mm. Which is quite a weird mixture.[imgtoken data:4]&nbsp;We wanted to start with the mom walking the young girl into the playground, as a sort of touchstone, to the beginning of the story, and jumping from an adult world to the girl's world.&nbsp;So we did that with the change from phone footage to film. Format was the thing that's led that, a little bit.But it meant we had the advantage of being able to&nbsp;to run around with such a small bit of kit. We could work with the kids a lot quicker, and&nbsp;it was much easier than having a big bit of kit.&nbsp;I shot all of that, and Ally essentially directed a lot of it with me as we went.&nbsp;We just played games with them, and managed to get little moments.&nbsp;And then I just ran around with an 8mm camera, and grabbed all the other kind of more fantastical bits.[imgtoken data:5]Shooting that way is essentially&nbsp;trying to get out the way of the story, a little bit. You&nbsp;do that as much as possible, and that one felt very much like that was what we had to do: try to&nbsp;allow these kids be as fun as possible without stepping in the way too much.I suppose I'm not afraid of being quite cheesy when I want to. This is cheesy, but it's so paint by numbers, sort of, that it's actually quite an enjoyable process to see it play out a little bit. Then when it happens, it's kind of genuine enough. You're not turned off by it.• Samuel Taylor is represented by Agile Films*This feature is a Promonews and Agile Films co-production&nbsp;

Samuel Taylor

Henry Napier-Brown

Tommy Banham

Agile Films

Jordan Buck

Gary Long

Milo Brown

Matt Alsop

Hamza Twomey

Elle Lotherington

Daniel Hawkins

Kuldip Singh-Barmi

Bradley Salter

Emma-Louise Stansall

Alternative

Superfood Trilogy: 'Where's The Bass Amp?', 'Double Dutch' and ''Natural Supersoul' by Samuel Taylor

Jordan Rossi directs a stylish showcase for singer-songwriter Riva Taylor&#39;s &#39;alternative&#39; love song, Mr Right.With an impressive variety of looks, styling changes, and&nbsp;locations to give it an LA vibe, the core of the piece is Jordan Rossi&#39;s capturing of Riva&#39;s impassioned performance to match the mood of the song.

Jordan Rossi

Ugne Ciesiunaite

Rankin Creative

Beth Montague

David Wright

Marco Turcich

Yin Lee

Lewis Pallett

Lucy Upton-Prowse

Chris Riley

Samuel Marr

Oisín O’Driscoll

Riva Taylor 'Mr. Right' by Jordan Rossi

307137267

Hannah Marshall directs a powerful new music video for Iranian artist Gola, using the film as a&nbsp;rallying call to anyone that has ever defied those who have told them &#39;no&#39;.&nbsp;Gola had to leave her homeland in order to pursue a career in music, having been a member of&nbsp;Orchid, Iran&rsquo;s first girl group, who were banned from releasing music and whose female-only concerts were heavily patroled by morality police, so attendees were not permitted to dance or sing along. Now&nbsp;Gola uses her voice to bring awareness to Iran and the power of women in her country.&nbsp;And Marshall says her&nbsp;visual concept was&nbsp;conceived &ldquo;as an ode to female potency and empowerment. This individual and collective striving is central to the structure of the video.&quot;&nbsp;She adds: &quot;I focused on three zones of the body, each corresponding to a different form of communication: eyes (the gaze), mouth (the voice), and hands (the touch). The clothing both impresses upon and provides gateways of expression for the body. The lived experiences of women are complex and the debates around their bodies often highly charged and politicised. Through the ritual of covering up and concealing what lies beneath, the intention is to present the hijab and veil as a self-contained source of power, an armour-like second skin that is loaded with life force and freedom.&rdquo; &bull;<a href="https://i-d.vice.com/en_uk/article/xwjq8j/gola-iranian-artist-the-line" target="_blank"> i-D</a>: Hannah Marshall on her Gola video&nbsp;

Alexandra Green

Choreographer

39 videos featuring Alexandra Green

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