Production Company

CANADA

Days before this year's UK Music Video Awards, celebrating all the outstanding creativity that makes it an enduring and important artform, comes a video shows exactly why its still vibrant, why it must be cherished, as&nbsp;Nicolás Méndez introduces the next era of&nbsp;Rosalía. It's a brilliant and inspiring clash of the mundane and the surreal.The video for&nbsp;Berghain&nbsp;(the&nbsp;lead single from her highly anticipated new album Lux)&nbsp;features the Spanish singer moving through her normal day. And whilst cleaning and&nbsp;ironing in her apartment, walking along the street, and travelling on a bus, she is always shadowed and surrounded by&nbsp;a full orchestra.[imgtoken data:1]Méndez takes us into a world that is still recognisably Rosalîa - as expressed in numerous videos, including the classics he has directed for Malamente, TKN and more. But her new musical direction, with orchestra, elements of opera, the experimentation that sees her involve Bjork and Yves Tumor, has become the path to employ this wonderful device.In a way, its simple. Crucially,&nbsp;its beautifully executed, with peerless attention to detail, in terms of production and with the bare traces of a narrative, involving a piece of jewellry, which leads us back to explore it again and again.[imgtoken data:2]Meanwhile Méndez takes it to the next level. Returning home, as Bjork starts singing, Rosalia's apartment has become a Snow White-esque interior forest, with creatures. An&nbsp;elevation to full-on fantasy. There's humour, and playfulness - and like&nbsp;all good fairytales,&nbsp;a frisson of horror.Shot in Warsaw, CANADA's Nicolas Méndez makes us feel we are in the centre of old Europe, full of history and where a lot of magic is also possible. It's a beautiful way to introduce Rosalia's experimentation&nbsp;in classical music. Méndez is a master of this artform and he makes every frame significant. He has made a classic.&nbsp;

Spain

Andy Kelly

Jose Carayol

Nicolás Méndez

María Rubio

Saul Levitz

Misha Shashko

Max Pittner

Victor Mata

Agnieszka Dragan

Przemek Krawczyk

Przemek Libermann

Marcin Bębnista

Jarosław Bajer

Marcin Studniarek

Pawel Zelsko

Antek Luc

Serpiente

Isabella Ching

Carlos Font Clos

Cabin Edit

Metropolitana

El Ranchito

Columbia Records

Callum Harrison

Jędrek Kowalski

Alternative

Rosalía ft Björk, Yves Tumor 'Berghain' by Nicolás Méndez

Rosalía-Ft.-Björk,-Yves-Tumor-'Berghain'-by-Nicolás-Méndez

After his previous videos, like Number One Candidate and Captain Ants, we know AntsLive is up for a serious challenge. But Billy King's video for Billie Holiday still comes as a surprise: Ants is playing the bad guy.King's video is a fast-moving modern tale of pop stardom that's sparked by an unscrupulous act, when Ants effectively steals a&nbsp;dance routine sent to him by a young fan on social media. Then he gets to work in making the&nbsp;routine for Billie Holiday go viral.After several previous collaborations with Ants, including directing the <a href="https://www.promonews.tv/videos/2024/01/13/antslive-cutlery-billy-king/89625" target="_blank">UKMVA-winning Cutlery</a>, Billy King is placing Ants in a different space. There's an element of satire about the craziness of the pop music game. But it also still feels consistent&nbsp;with the sharp wit of the previous videos.And it's very much the AntsLive we've come to know and love - even if he's been a bit naughty.&nbsp;[imgtoken data:1]&nbsp;[imgtoken data:2]

United Kingdom

Billy King

Nahal Ashrafi

Natalia Maus

Anastasia Liasi

Hands 

Saiya Thomas

Jed Darlington Roberts

Hara Spyrou

Sam Barnham

Dimi Valikrov

Tupac Carroll

Anders Mills

Liv Ay

Trim Editing

Nielsan Bohl

Hannah George

Selected Works

Marina M. Campomanes

Hip Hop

AntsLive 'Billie Holiday' by Billy King

AntsLive - Billie Holiday (Official Video)

Billy King directs a darkly comedic promo for Sasha Keable, who is going to extraordinary lengths to not feel numb any more.&nbsp;The video for Feel Something features Sasha performing from inside her overturned car following an accident. Billy King - who recently signed to CANADA for music videos and branded content&nbsp;-&nbsp;gives this catastrophic scenario another playful twist.Not only covered in cuts and bruises, Sasha&nbsp;may not have made it through the accident alive. No wonder she would like to feel something...&nbsp;&nbsp;With surreal doppelgangers, abstract backdrop vignettes and a tongue-in-cheek approach, it's a visual feast that places Keable front and centre, and is very effective indeed.&nbsp;[imgtoken data:1][imgtoken data:2]&nbsp;

Sam Storey

Jack Pritchard

Sophie Daniel

Lee Trigg

Ayomide Alli

Greg Probert

Peter Bishop

Tanya Ramsurrun

Phelan Moeller

Jack Meredith

James Wicks

Alexandra Brannan

Clare Hurford

Stefan Jemeel

Amanda Marie-rose

DOMA

Tom Mangham

Black Kite Studios

The Flight Club Records

Natasha Lawes

Sasha Keable 'Feel Something' by Billy King

Sasha-Keable-'Feel-Something'-by-Billy-King

Acclaimed director STILLZ is renowned&nbsp;for his striking visual work with global artists such as Rosalía and Bad Bunny&nbsp;- and now he has made a&nbsp;bold leap into the world of sound with the release of his own album of ambient and experimental music, accompanied by&nbsp;a hypnotic longform visual,&nbsp;shot in seven different parts of Japan.The video is a lush, cinematic experience, fusing raw urban energy with a surreal, meditative calm - featuring&nbsp;Japanese icon Yuki Chiba, who acts as a spirtual anchor to the piece that moves&nbsp;seamlessly between realism and dreamy abstraction.&nbsp;Within the shapeshifting narrative, Chiba's presence provides a stoic grace,&nbsp;grounding the visuals in a sense of cultural and emotional gravity.&nbsp;This unquestionably marks&nbsp;a significant artistic evolution for the director-turned-composer. In the project -&nbsp;a collaboration between production houses WeOwnTheCity, CANADA, and PUSH Japan -&nbsp;STILLZ delivers an audiovisual immersion. It’s a raw, honest, and unapologetically avant-garde introduction to his voice as a sonic artist - and completely absorbing.[imgtoken data:1][imgtoken data:2][imgtoken data:3]&nbsp;

Stillz

Esteban Zuluaga

Saka Matsushita

WeOwnTheCity

PUSH

Russ Fraser

Kristian Kvam Hansen

Mike Sunda

Alvaro Riesgo

Aitor Bigas

Kaitlyn Battistelli

Buralqy

Ethos Studio

Ambient

Experimental

STILLZ, Yuki Chiba 'Separated At Birth' by STILLZ

Stillz,-Yuki-Chiba-'Separated-At-Birth-'-by-Stillz

Rory Alexander Stewart directs a spectacular promo for Squid.&nbsp;The video for Cro-Magnon Man follows a&nbsp;frenetic rollerblader, played by Neil Nelly Ingall, as he carves through a dimly lit cityscape, on a surreal journey combining physicality, distortion, and a puppet made of bones.With a heavily-textured, vintage digital aesthetic and experimental cinematography, it's an inspired concept for an equally strange piece of music.&nbsp;Cityscapes have never looked so weird -&nbsp;another great project from&nbsp;Rory Alexander Stewart.

Jamie McCubbin

Rory Alexander Stewart

Zaigham Hameed Butt

Ruth Morris

Rowan Biddiscombe

Taff Williamson

Jordan Glancey

Tom Chick

Rich Fearon

Javier Botella Pérez

Marta Ferrero

Álvaro Posadas

Neil Nelly Ingall

Warp Records

Squid 'Cro-Magnon Man' by Rory Alexander Stewart

Squid-'Cro-magnon-Man'-by-Rory-Alexander-Stewart

<h3>From the POV of a bullethole, to&nbsp;a jealous robot, to it's reanimated remains...&nbsp;the CANADA director explains how he made three distinctly different videos for the Guyanese-American singer's new album Festival Season, that have a common thread. BTS&nbsp;photography&nbsp;by&nbsp;Alexandra Cepeda and&nbsp;Dani Pujalte.</h3>Alex Gargot is a director who has created meticulously-crafted visions in his music videos and beyond. From his breakthrough with the UKMVA-winning video for <a href="https://www.promonews.tv/videos/2019/11/06/cora-novoa-state-mind-alex-gargot/61743" target="_blank">Cora Novoa's State Of Mind</a>&nbsp;in 2019 and multi-award winning&nbsp;<a href="https://www.promonews.tv/videos/2021/04/12/fuel-fandango-ft-mj-llergo-mi-huella-alex-gargot/70343" target="_blank">Fuel Fandango's Mi Huella</a> in 2021, there's a command of the medium, from the set-ups to the clever use of visual effects, which suspends reality,&nbsp;creates a sense of wonder, while retaining a dramatic tension.Signed to CANADA in 2023, the Barcelona-born&nbsp;director's work has been more focussed in making commercials, so his return to music videos towards the end of last year&nbsp;was hugely welcome. It was also a case of Gargot taking on a new challenge: making three videos for the same artist, the prolific and&nbsp;eclectic&nbsp;Guyanese-American singer Carlos St. John Phillips -&nbsp;aka SAINt JHN -&nbsp;for his new album, the just-released Festival Season.It&nbsp;meant&nbsp;Gargot and his team at CANADA shooting three videos in four days, presenting the director with a huge challenge, but also the opportunity to build a body of work with a single artist over one intense period. What's more each one has its own distinct character.Circles is vignette-based, it's message conveyed through&nbsp;strong and dark images within the performance music video format; Body In Me, is a sophisticated narrative video, with sci-fi overtones as SAINt JHN plays a robot developing feelings for its owner; and Glitching&nbsp;is the afterstory of the robot, while also returning to a performance video format.&nbsp;So we spoke to Alex Gargot to get the whole story on his SAINt JHN music video trilogy.[imgtoken data:1]Above: SAINt JHN and Alex Gargot (right) on the set of the Body In Me video. Photo:&nbsp;Alexandra Cepeda.&nbsp; &nbsp;<blockquote>SAINt gave me full creative freedom, which instantly got me excited about the project.</blockquote><h3>PROMONEWS : How did the SAINt JHN project begin for you?</h3>ALEX GARGOT: It all started with an Instagram DM. SAINt hit me up out of the blue, and three messages later, we were on a video call. Initially, it was just about connecting on a human and creative level, a kind of chemistry check to see if we clicked. He told me about his artistic vision and the upcoming album he was working on, and I could tell right away how open he was to whatever inspired me. He wanted my genuine interpretation of his work. He gave me full creative freedom, which instantly got me excited about the project.<h3>P : Was it always the plan to make three videos? Or did one thing lead to another?</h3>AG: SAINt sent me the whole album, and I listened to it several times, taking notes as I started picturing scenes and concepts for some of the tracks. The range of genres across the album was insane, which was really exciting.So on our second call, I pitched him about four ideas. I remember how he wanted us to have a fun, free-flowing creative chat first - before 'the adults'&nbsp;got involved. Some concepts came from embryo ideas I keep in my "ideas for a music video" document, while others were born right then, inspired by SAINt’s music.[vidtoken data:0]At some point, he landed on the one track he felt would work best: Body On Me. The contrast between its dark emotional depth and its aggressive, distorted sound really spoke to me. So we locked that in, but then the request grew. It wasn’t just going to be one video - it was going to be three. And the other two were for tracks I hadn’t even thought about yet.So I had to come up with two ideas fast, and in a way that made sense production-wise. Meaning: finding a way to expand the vision without tripling the budget.<h3>P : Can you talk about the symbolism in the Circles video? That seems to work on several levels - the obvious references to circles in the images, but there's also another level of deciphering what each set-up means?</h3>AG: The idea for Circles revolves around both a formal and a conceptual foundation. Visually, using the circle as a self-imposed framing restriction felt like a natural choice for a track with that title. Conceptually, my interpretation of “running in circles for you” was about the endless pursuit of an unattainable ambition - where “you” represents that ideal goal. We chase after this perfect destination that always seems to stay on the horizon, no matter how far we run. The themes of fame, money, and power felt like an interesting take on the concept.One of the key images is SAINt pushing a massive stone over a red carpet while being photographed by the press. That stone represents the sacrifices made in the pursuit of recognition - by the audience, the press, but especially by oneself.Another setup shows him playing Russian roulette with himself, a moment where, no matter where the cylinder stops, he’s forced to pull the trigger. I wanted to explore the idea of being one’s own worst enemy - especially for perfectionists chasing impossible goals.[imgtoken data:2]Above: SAINt JHN, on-set of the Circles shoot. Photo:&nbsp;Dani Pujalte<blockquote>For Circles, I wanted to explore the idea of being one’s own worst enemy.</blockquote><h3>P : For instance, the tunnel vision effect. Everybody except SAINt JHN is fearful of it. Then towards the end it becomes organic - rotten and bloody. What does it represent?</h3>AG: SAINt talks about feeling invincible in the track, and I wanted to visualize that by incorporating the circular gun barrel into the narrative. Everyone flees from its POV - except him. He won’t stop, no matter what. Even after being shot, he keeps singing, and we shift from the gun barrel’s POV to the bullet wound’s POV.Meanwhile, the press is made up of relentless, obsessive photographers who also won’t stop, no matter what. This nightmarish scenario - SAINt walking after being shot in the forehead, still singing, while the press follows him, still snapping pictures - was the climax I wanted to build toward.<h3>P : When and where did you shoot Circles, and what were the biggest challenges?</h3>AG: We shot Circles in a single day - and I had to come up with the concept just as fast. It was the first of four intense shooting days where we filmed all three videos. Definitely a challenging project.Of the three, Circles was the simplest. I’m used to shooting more narrative-driven films, but this time, each setup was like interchangeable puzzle pieces. The biggest challenge was time. Getting an entire music video done in a day felt nearly impossible. Midway through, I realized we had to prioritize shots. We had to cut about a third of what we had planned just to stay on track for the next day’s Glitching shoot.[vidtoken data:1]<h3>P : Where did the idea of SAINt JHN as a robot for the Body In Me video come from?</h3>AG: Body On Me had a gloomy emotional depth, yet its sound was aggressive, distorted, and electronic. I was inspired by this contrast of fragility and strength and started envisioning a sad, lonely android whose intentions to connect were unclear. I decided it was essential to make these opposing forces central to the story, balancing the android’s true feelings with the seemingly cruel actions he appears to take.<h3>P : The scenario is very composed and even quite understated, with the focus on SAINt JHN’s robot character and his/its struggles with humanity. What led you to that approach?</h3>AG: I wanted to approach this sci-fi story in the most realistic and down-to-earth way possible. The packaging, the instruction manual, the battery... everything had to feel simple, sober, and plausible. We wanted a house that didn’t feel like a sci-fi movie, but more like an indie drama with thriller vibes.[imgtoken data:3]Above: SAINt JHN and Gargot, on the set of the Body In Me video&nbsp;It had to feel like the story of a sophisticated home appliance that begins experiencing emotions and questions its identity as something separate from its owner. From production design to VFX, we followed this direction meticulously to create a music video that felt like a short film.<blockquote>We wanted to put both the android’s and the owner’s emotions at the centre.</blockquote><h3>P : Did you draw on cinematic references for the style of your storytelling?</h3>AG: When I first started talking with Dani Borbujo (the cinematographer) and Alexandra Jordana (the production designer), A Ghost Story kept coming up as a reference. We wanted to keep the sci-fi element on a second layer, using sober camera language and stable compositions and letting the characters lead the story. We wanted to put both the android’s and the owner’s emotions at the centre. On one side, there’s the android’s growing curiosity and jealousy; on the other, the owner’s increasing fear and suspicion. It had to feel like a fragment of a larger thriller.[vidtoken data:2]<h3>P : Where did you shoot the video and what were the biggest challenges?</h3>AG: We shot in a large empty house somewhere in Catalunya. I was surprised when we found it - it felt like it could easily be an American home. The challenge was making it feel lived-in while staying within budget, so we kept the story contained to just a few rooms. We also let the location shape the storyboard I had drawn up before knowing where we’d shoot. I wanted to take advantage of the house’s most unique spaces - like that small, sloped-ceiling red room I became obsessed with.<h3>P : Did you know when you made the video that there would be a Part 2?</h3>AG: When I first came up with the idea and played it out in my head, I had no clue there would be a sequel. To me, the image of the android standing in the ditch under the highway, followed by the close-up of his battery - his heart -hanging from the car’s rearview mirror, felt like the perfect ending to this tragic story. But then Glitching happened.[vidtoken data:3]The Glitching video has a different energy. Why did you take this approach?AG: The track itself has a different energy - it’s rhythmic, danceable, and needed a more dynamic visual approach. Faster cuts, a more rhythmic edit, fluid camera movements, and, of course, some actual glitching.<h3>P : Was it always the plan to give the robot a second chance, or is this more of a post-script than a sequel?</h3>AG: Part of the idea came from noticing that the snare in the track sounds like the typing of keys on a computer keyboard. I pulled from this detail and started building from there. What if someone is typing on programming software that can hack into the android’s OS even if it’s damaged and lost its battery? That would allow us to see into its “soul” and have an actual performance video seamlessly integrated into the narrative.Let’s not forget this one had to be shot in one day too. This solution checked multiple boxes: it takes place in the same Body On Me universe; we just needed one more location, and it has a perfect excuse for a performance set -the virtual space where his digital avatar is intact.[imgtoken data:4]<blockquote>Glitching has different energy and needed a more dynamic visual approach.</blockquote><h3>P : Impressive use of VFX has been a notable part of your work (Fuel Fandango’s Mi Huella, etc). Is this the SAINt JHN video that’s most dependent on VFX?</h3>AG: Yes, it definitely was. On one hand, we had the android’s broken body, with some moving camera shots that made the VFX work even trickier for the team at Melt. Then there were all the screens - design, animation, and integration. None of them actually worked on set, which meant a massive amount of work to bring them to life in post.Álvaro Posadas and Marta Ferrero (from the CANADA post team), and I started exchanging references, drawing inspiration from old technologies like the CMD interface for command prompts in early Windows, the first Game Boys, MRIs, and ASCII art. From there, we refined the aesthetic that would run through the screens and even the title credits. We also used AI to give the glitchy performance bits of SAINt JHN a distinct particle diffusion look.<h3>P : The 3 videos are all different in style - even though Body On Me and Glitching are narratively connected. But is there an overall message or theme? What do they collectively say about SAINt JHN?</h3>AG: I’d like to say that an overall message was intended from the beginning, but if there is such a thing, it’s by chance. Looking back, I see a common thread: solitude and the pursuit of connection. But perhaps all stories, in some way, touch on this theme.In Circles, it’s about a connection rooted in admiration - the validation an icon seeks from the masses and from themselves. In Body On Me and Glitching, it’s more about the boundaries between beings, the gap that separates one consciousness from another, whether artificial or organic - and the possibility of love between an AI and a human.• Alex Gargot is based at CANADA in the UK, the US and Spain.

Alex Gargot

Three videos, four days : Alex Gargot on the challenge of his SAINt JHN trilogy

Saint-Jhn-'Circles'-by-Alex-Gargot

Saint-Jhn-'Body-On-Me'-by-Alex-Gargot

Body On Me (Behind the Scenes)

Saint-Jhn-'Glitching'-by-Alex-Gargot

As with all elements of A Film For The Future, the 44-minute visual companion to Coldplay's tenth studio album Moon Music, the visual for WE PRAY is a compendium of creativity from directors and animators&nbsp;around the globe, in a range of disciplines and styles - brought together in what the project's executive producer (and contributor) Ben Mor has described as&nbsp;“a kaleidoscopic patchwork quilt – a 44 minute multimedia tapestry.”The whole project has involved about 150 filmmakers - and fans have also contributed, invited to remix the film. The WE PRAY visual includes&nbsp;the work of nearly 20: Omar Jones, Taichi Kimura, Aaron Brown, STILLZ, WUKDA, KC Locke, Jonnie Ross, CC Mulligan, Pau Carreté, Marco&nbsp;Braia,&nbsp;Mostafa Heravi,&nbsp;Mazik Saevitz,&nbsp;Balázs Simon &amp;&nbsp;Catia&nbsp;Abreu, jamie Roberts, Shane Fu, Ben Mor and&nbsp;Clara Bacou.&nbsp;Special&nbsp;360-degree screenings of the film are taking place at Lightroom in London and Manchester on selected evenings until March 21st -&nbsp;<a href="https://coldplay.lnk.to/AFFTFtickets" target="_blank">on sale now</a>.&nbsp;Access to the fan-led remix site for the film, powered by Microsoft AI, <a href="https://afftf.coldplay.com" target="_blank">here</a>.<div>&nbsp;</div>

Omar Jones

Taichi Kimura

Cekai

Aaron Brown

We Own The City

WUKDA

KC Locke

Jonnie Ross

CC Mulligan

Pau Carreté

Marco Braia

Mostafa Heravi

Mazik Saevitz

Balázs Simon

Catia Abreu

Jamie Roberts

Shane Fu

Ben Mor

Clara Bacou

Partizan

Sam Seager

Coldplay 'WE PRAY' by Various

Coldplay - WE PRAY (A Film For The Future)

Alex Gargot directs a rousing promo for SAINt JHN, continuing the narrative of previous video <a href="https://www.promonews.tv/videos/2024/11/20/saint-jhn-body-me-alex-gargot/89138">Body On Me</a>&nbsp;and the Spanish director's third visual for the&nbsp;Guyanese-American rapper and singer's latest album.&nbsp;The video for Glitching opens in an underpass, where the artist's robot form has been abandoned by its owner. Broken and torn apart, he is rescued by a tech-savvy scientist&nbsp;who tries to salvage the pieces.&nbsp;With an absorbing retrofuturistic aesthetic - elevated by anachronistic visual effects and glitchy textures - the video is a gripping watch with plenty of sci-fi inspiration and standout moments.&nbsp;Great work, and another exciting entry into SAINt JHN's videography by Alex Gargot.&nbsp;[imgtoken data:1]

Alexandra Jordana

Alicia & Pablo Casting

Isabel Domènech

Christy Alcaraz Moyer

Alex Carvajal

Daniel Borbujo

Laura Serra Estorch

Marta Bobić

Cristina Marín

Cristina Alcalde

Alberto Ojeda

Xavi Torres

FermÍn Armendia

Pinky Alonso

Michael Philouze

Raquel Pintado

José Ostos

Nielsen Bohl

Melt

Cristina Tingting

Saint Jhn

Gødd Complex

SAINt JHN 'Glitching' by Alex Gargot

Rigoberta Bandini - the music project of Spanish actress and musician&nbsp;Paula Ribó -&nbsp;channels the one and only Pamela Anderson in Rory Alexander Stewart's mesmerizing promo for the eponymous track.&nbsp;Stewart adds comic surrealist touches to the artist's marvellously theatrical performance, as she undergoes a remarkable transformation into a&nbsp;beloved Hollywood icon,&nbsp;bouncing between reversed shots, glitchy lo-fi video cam (a reference to Pam's sex tape notoriety?) and&nbsp;glossier setups.Spiralling into complete ecstasy, as Rigoberta dons the famous red swimsuit in which Pamela became a big star, it's a great execution of a marvellously off-the-wall and thought-provoking&nbsp;comic idea - whether or not you understand the Spanish lyrics - that's absorbing from start to finish.[imgtoken data:1][imgtoken data:2]

Violeta Comella

Yolanda Gata

David Felices

Lucas Casanovas

Diana C. Milesi

Itsasne Santos

Silvia Martinez

Ainara Trigueros

Dani Gallardo

Paula Botella

Andrea Batlló

Marta Ros

Alba Guillén

Andrea Trenado

Conrado López

Xavi Santolaya

Glassworks

Rigoberta Bandini 'Pamela Anderson' by Rory Alexander Stewart

Rigoberta-Bandini-'Pamela-Anderson'-by-Rory-Alexander-Stewart

Alex Gargot directs a gripping promo for SAINt JHN, his second collaboration with the artist, putting on a thought-provoking new spin on the threat of artificial intelligence.In the video for Body On Me, the&nbsp;Guyanese-American rapper and singer plays a robot who becomes sentient, and contemplates the dawn of humanity. Guided through the narrative by an instruction manual, we are shown each step of the journey, from the robot being switched on, through to his eventual revolt - driven by a very human emotion.Meditating on themes of technology, the human experience and the morality of&nbsp;androids, the video is a cinematic feat with plenty of fun visual moments.&nbsp;Blended together with seamless visual effects and intriguing narrative threads - with a convincing performance&nbsp;of Lourette Osei as the robot's owner - this superb visual&nbsp;matches the near-future vibe of the track and an impressive showcase for&nbsp;Alex Gargot's abilities as a storyteller through imagery alone.[imgtoken data:1]&nbsp;[imgtoken data:2][imgtoken data:3]

United States

Annette Roche

Wenjun Gao

Lourette Osei

SAINt JHN 'Body On Me' by Alex Gargot

SAINt JHN battles with the vulnerability and invincibility in his relationship to fame whilst navigating surreal, circular compositions in Alex Gargot's mesmerising video for Circles.[imgtoken data:1]

Arnette Roche

SAINt JHN 'Circles' by Alex Gargot

The CANADA director talks about his favourite things this year, enjoying life in Paris&nbsp;and&nbsp;the huge influence of&nbsp;an eccentric&nbsp;babysitter&nbsp;- in the latest Snapshot Q&amp;A.Ryan Doubiago is a&nbsp;Palestinian-American filmmaker who traded in his basketball for a camera while at college in the US. Now based in Paris, he creates innovative and visually arresting films steeped in emotion.&nbsp;Ryan's commercial work includes Adidas films for Paris Basketball and Predator football boots - featuring Jude Bellingham - and JBL. He co-directed a D&amp;AD-winning music video for M83 and has recently worked once again with his old friend, US rapper Bas. He joined&nbsp;CANADA for worldwide representation, except in France, last year.With our latest Snapshot Q&amp;A we&nbsp;caught up with Ryan to find he is more devoted to films and filmmaking than ever - but still making time for basketball - and bringing the two things together.&nbsp;&nbsp;&nbsp;Name: Ryan Doubiago&nbsp; &nbsp;Birthday:&nbsp;Same as Muhammad Ali, Jim Carrey, James Earl Jones, Al Capone, and most importantly Betty White - but in ‘91.&nbsp;Where did you grow up? Paris and San Francisco.Place of further education and course (if any)? Youtube University &amp; NYU (Philosophy).Where do you live now? Split my time between Paris and New York.What were the important first projects for you, in terms of a learning experience and getting noticed?After college, I had no idea what I wanted to do. I bounced between internships, but nothing clicked. Luckily, around that time, my close friend Bas started gaining attention for his music. One day, he invited me to join him on tour, so I jumped at the chance and brought along a camera I barely knew how to use. I snapped a few shots, opening the door to becoming a tour photographer for a couple of years.That experience eventually led me to direct music videos. Those first projects were my real film school—filled with struggles and learning curves.<blockquote>I’m pretty sure [the babysitter] is the reason I'm a director today.</blockquote>The first project I felt truly proud of was <a href="https://www.promonews.tv/videos/2021/12/22/m83-my-tears-are-becoming-sea-sacha-barbin-ryan-doubiago/74380" target="_blank">M83’s My Tears Are Becoming a Sea</a>,&nbsp;which I co-directed with Sacha Barbin. It was a real testament to our pre-production planning that we were able to get everything we needed, despite having an incredibly tight budget and a short shooting schedule.It also served as a trial by fire, a reminder that sometimes no matter how hard you prepare there will always be unforeseen obstacles and to remain calm and persevere when things don't go exactly as planned.[vidtoken data:0]Best film you’ve seen this year?&nbsp; The most fun I’ve had at the movies this year was <a href="https://www.youtube.com/watch?v=OzY2r2JXsDM" target="_blank">Alien: Romulus</a>. Fede Alvarez did an incredible job and I loved seeing the masterful use of practical effects in the film.&nbsp;I also have to mention Savanah Leaf’s insanely good debut film <a href="https://www.youtube.com/watch?v=hA-Jhu938vY" target="_blank">Earth Mama</a>. I was blown away by how she managed to tell such a powerful and moving story with such minimal coverage. It felt radical and inspiring![imgtoken data:1]Favourite song/album/music artist this year? Saya Gray’s <a href="https://open.spotify.com/album/0uPxqFTWGfboMKWBpLo9lO" target="_blank">QWERTY II</a> &amp; BAS’s&nbsp;<a href="https://open.spotify.com/album/3kXP7albhNo2neJAivDwxk" target="_blank">We only talk about real shit when we’re fucked up</a>.&nbsp;Favourite music video/videos you’ve seen this year?&nbsp;I loved <a href="https://www.promonews.tv/videos/2024/04/24/fontaines-dc-starburster-aube-perrie/86239" target="_blank">FONTAINES D.C.’s Starburster</a>, directed by Aube Perrie. There’s an edginess and a playfulness to the video that works so well with the track. It's a kind of meta take on “the world of music videos,” but it still manages to be completely original.<blockquote>I know my work always turns out better when I have the time to dream a little.</blockquote>What has been (or usually is) your favourite night out this year? I always love <a href="https://www.fetedelamusique-paris.fr/" target="_blank">“Fête de la musique” in Paris</a>. The whole city becomes a party with bands and DJs set up on every street corner.&nbsp;Name a film or video or other creative work that had a huge influence on your career choice?&nbsp;When I was 6 years old my 60ish year old babysitter showed me The Shining and Terminator II on the same night. Unfortunately, my parents fired her. But I’m pretty sure she’s the reason I'm a director today.[vidtoken data:1]In college, <a href="https://www.youtube.com/watch?v=yQdjxQN4ieg" target="_blank">Dogtooth&nbsp;by Yorgos Lanthimos</a> had a massive impact on me. It combined a unique blend of existential horror and humour in a way I had never seen before.When it comes to music videos, Jonathan Glazer’s UNKLE’s Rabbit In Your Headlights, featuring&nbsp;Thom Yorke had a huge impact. It’s the kind of narrative concept that still inspires me today. I love how simple the idea is and how patiently the story unfolds, slowly building tension all the way up to one of the greatest music video endings ever![vidtoken data:2]In terms of&nbsp;music video-related jobs of the past year or so - what was the most rewarding creatively, and why?&nbsp;I owe a lot to Bas for my early opportunities. Now, over a decade later, we’re still working together, with the latest being his lead single Diamonds, from his last album.&nbsp;Bas and I have built a strong trust over the years, so a lot of our ideas come naturally from conversations about his music, life, and what we’re going through. For this project, he wanted visuals that not only fit the song but also captured the album’s broader themes - especially the growing need for escapism and its hidden pitfalls.[vidtoken data:3]What are your favourite other (non-mv) projects of the past year or so?Probably the one I’m currently working on. It's a&nbsp;kind of love letter to an outdoor basketball court in Paris that I discovered when I moved back in 2016. Over the years it’s become a very close-knit community of eccentrics. And it’s recently gained international prominence due to social media. Shoutout <a href="https://www.tiktok.com/@le__144" target="_blank">le 144</a>![imgtoken data:2]Most annoying/irksome thing that’s been going on this year (work-related or otherwise)? Western media coverage on the ongoing genocide in Gaza.&nbsp;Your top suggestion to change and improve how the music video industry works?&nbsp;Mentioning budgets is an obvious choice, but I would also advise labels and artist managers at the very least to allow more time for developing ideas. Often, you’ll receive a brief and be expected to submit a pitch within two days. Personally, I know my work always turns out better when I have the time to dream a little.What are you looking forward to most for the rest of the year?&nbsp;After living in Paris for eight years, I finally got around to signing up for an unlimited movie pass for all the cinemas. I’ve never felt such POWER.• Ryan Doubiago is a director with <a href="https://www.canadacanada.com/contact" target="_blank">CANADA</a>, represented for music videos in the UK by Hands. Check out his work <a href="https://www.canadacanada.com/directors/ryan-doubiago/" target="_blank">here</a>

Ryan Doubiago

THE SNAPSHOT Q&A: Ryan Doubiago

M83 - My Tears Are Becoming A Sea (Official Video)