Production Company

CANADA

Rosalía performs a groundbreaking live presentation of her new album Motomami - bending Tik Tok to her will in the process - in a brilliant longform created specially for the app, directed by STILLZ,&nbsp;Ferran Echegaray and Rosalía, in association with CANADA.There are extended performances pieces from each track of the album, with uniquely designed staging and choreography applied to each while occupying the same huge studio space. Most crucially, this project is not hampered by the aspect ratio-related limitations of Tik Tok.[imgtoken data:1]The content is specifically created to be viewed on mobile devices, and is meant to be held with two hands. That will prevent you from dropping that device&nbsp;when the camera moves to another shape - as it does throughout the film.When its vertical, it could be horizontal or upside down. But in fact, the camera (or cameras) are themselves usually moving, rotating, changing the angle and view of the ever-compelling&nbsp;Rosalía - who is indeed performing live.[imgtoken data:2]The piece represents a continuation of CANADA's close relationship with Rosalía, after the music videos for De Plata,&nbsp; directed by MANSON, and her breakthrough&nbsp;hits Malamente and Pienso En Tu Mirá,&nbsp;filmed by Nicolás Méndez aka CANADA, as well as the Grammy’s Best Music Video-winning TKN,&nbsp;featuring Travis Scott, also directed by Méndez.

Spain

Jose Tirado

Mecnun Giasar

Lane Casting

Pili Vila

Pepa Salazar

Rosalía Vila

Stillz

Ferran Echegaray

Esteban Zuluaga

Karen Saurí

Christy Alcaraz

Christopher Ripley

Agustin Boffi

Alvaro Riesgo

Marta Loza

Sergio Serpiente

Mariona Botella

Estel New Roman

Aitor Bigas

Marc Morató

Álvaro Posadas

David Gómez

Metropolitana

Flamenco

Rosalía 'Motomami Tik Tok Live Performance' by Stillz, Rosalía Vila, Ferran Echegaray

Rosalía-'Motomami-Tik-Tok-Live-Performance'-by-Stillz,rosalía-Vila,-Ferran-Echegaray

Sigrid takes on the space-time continuum in&nbsp;Femke Huurdeman's dazzling video for It Gets Dark.Sigrid is in a very playful version of outer space, incorporating gorgeous, retro-influenced costumes, ingenious set design, and projections and other in-camera effects, in a consciously studio-based set-up. She connects with her surroundings in numerous ways - and in numerous outfits: sitting on top of worlds; exploring alien environments; observing speeding stars from her space rocket cabin, and then growing&nbsp;Alice-style in relation to her room.&nbsp;It's the second collaboration between the Norwegian pop star and Huurdeman, following the acclaimed video for Mirror last year, and with that experience behind her the Dutch director&nbsp;really plays to Sigrid's&nbsp;strengths as a performer on camera.The wonderful art direction&nbsp;(by Laura Santos) and wardrobe&nbsp;(by Ahida Agirre)&nbsp;come with the unmistakeable&nbsp;imprimateur of CANADA, Huurdeman's production company home. The attention to detail is marvellous, which contributes to this being an irresistable showcase for Sigrid and a very cool song.This is a triumph that's really a credit to&nbsp;everyone involved. The&nbsp;perfect way to herald&nbsp;Sigrid's upcoming second album - and the video that shows what&nbsp;Femke Huurdeman is really capable of.[imgtoken data:1]&nbsp;&nbsp;[imgtoken data:2][imgtoken data:3][imgtoken data:4]

United Kingdom

Femke Huurdeman

Aina Salarich

Pepe Gay De Liébana

Laura Ruiz Penacho

Laura Santos

Ahida Agirre

Ana Cano

Laura Obiols

Jo Lewandowska

Okay Studio

Laura New Roman

Ruth Wardell

Albert Romagosa

IXYXI

Connie Meade

Island Records

Hands London

Sigrid 'It Gets Dark' by Femke Huurdeman

Sigrid - It Gets Dark

What went into making the surreal rodeo dream for Dua Lipa's Love Again? David Knight went to the horse's mouth,&nbsp;CANADA's Lope Serrano, for the&nbsp;full story.&nbsp;BTS photography by <a href="https://www.instagram.com/sophiewilliam_s/" target="_blank">Sophie Williams</a>.Having directed a blockbuster video for <a href="https://www.promonews.tv/videos/2020/02/03/dua-lipa-physical-canada/63072" target="_blank">Physical</a>, the first big single from her hit album Future Nostalgia, Lope Serrano - one half of the celebrated CANADA directing duo&nbsp;- reunited with Dua Lipa during the depths of lockdown for one of the last songs from the record to get a video:&nbsp;Love Again.Here the sophisticated pop aesthetic established on Physical is pared back, and given a cowboy rodeo theme - but something wonderfully magical happens too. Serrano creates a remarkable&nbsp;world with the Love Again video, riffing on his Western theme, bursting with surprising, irreverent surrealism - featuring mechanical bulls, invisible horses, giant eggs... and an iconic Dua Lipa performance.It's a signature CANADA work, and we thought it was high time to find out from Lope Serrano how it all happened. And ask the big question...&nbsp;what does it all mean?[vidtoken data:0]What was the starting point of the creative process for the Love Again video? Did you have a brief for the track that suggested the cowboy/rodeo theme?Yes - Dua called us asking for a new collaboration after Physical. Her only brief was that somehow she pictured herself on top of a mechanical bull, that Love Again&nbsp;was her favourite single, and that the song was about a sort of personal resurgence, not necessarily or just in a romantic sphere.From that visual kick-off - which I personally like - I tried to find a way to escape from literality and clichés. A new rhyme for the old words, let's say.That's basically the core of our creative task: to extend and distort, explore and project, and complete the hints and non-visual insight of the artist in a personal way.[imgtoken data:1]<blockquote>I was trying to gather the real elements of the rodeo world...&nbsp;and combine them in an unexpected way.</blockquote>If you have the money and the time, you have the proper elements to go deep into the real world of rodeos, bulls, and cowboys. In that case, you don't need this kind of irony or conceptual humour to complete the invitation.I'd be more than happy to shot a film like The Misfits, you know. With all the respect for the real people who own this world. But with music videos, tight budgets, and time and medium's obvious restrictions... well, it's more effective to work in the world of altered symbols and visual arousal.This might sound random, post-modern, or meaningless, like a drunk joke - but it's not. It's a game, but with rules. These rules are more or less obvious. But we love to play with a pattern of an invisible grid of rules, so each weird piece of the board makes sense when you read the regulations. And then a Horse and a Tower and a Queen can live together with no stridency.&nbsp;[imgtoken data:2]<blockquote>I can feel a romantic tension in the song... I needed to communicate this tension.</blockquote>How did you come up with the individual ideas for the video? Was the idea of the cowboy-clowns the jumping-off point for everything else?There are two main creative strategies in the making of the writing of the video I think. First of all was, as I said, trying to gather the real and predictable elements of the rodeo world - the cowboy hat, the bull, the horse, the rodeo clowns, the lasso, the line dance -&nbsp;and try to combine them in an unexpected, free and non-conceptual way. So, for instance, I try to find new meanings to these traditional elements and see how things can evolve just as a pleasant visual experience.To make this strategy work, you need to be delicate and subtle in the irreverence: eliminate the horse or the bull completely. Making them disappear was a good way to make things less emphatic and literal. It has been done many times - we did it, for instance, in <a href="https://www.promonews.tv/videos/2014/11/21/she-him-stay-awhile-canada/30337" target="_blank">Stay Awhile for She and Him</a>. So although the idea was still valid, it could not be central to the music video.[imgtoken data:3]Another example: I took the make-up element from the rodeo clowns to go for painting strains, as abstract painting, and this allowed me to work with classical paintings as a valuable resource to connect shots.There are plenty of visual motifs that you can effortlessly take from classical painting, like horses, and romantic raptures, and hugs, and gorgeous portraits and hyperdynamic group compositions - and then you can cut clean and smart from these extremely beautiful pictures to Dua's hug dance;&nbsp;to the choreography of the group;&nbsp;to Dua's in the horse/bull or a portrait of her. Finding an apparently alien motif that fits well both conceptually and visually with the rest of the stuff makes me so happy in the editing room….![imgtoken data:4]<blockquote>I've learned to work with Dua... she's straightforward, smart, polite, respectful.</blockquote>And finally, all the egg thing... Well, to be honest, I was looking for an unexpected rhyme to the lasso routine. I thought in the same wrist movement when you are beating eggs trying to make an omelette. I found funny and beautiful the mundane idea of seeing Dua doing an omelette, something you should not expect from a Pop Star. Then, once the egg was invited to the party, I looked for different ways for it to be comfortable at the feast.There was also an intention to illustrate the romantic message of the song. The idea of an unexpected Love that appears again, something so pure and intense that seems to be only possible once in a lifetime, like these delicate flowers or animals that are just designed to blossom and intercourse just once and then they die. Still, no, it's here again and it's good. And bad, we all know that.Anyway, there's a romantic tension in the song - or at least I can feel it. So I needed to communicate this tension, this capture, this tense connection between the humans and their recovered feelings. In this sense,&nbsp;capturing a wild horse was a good metaphor for the idea of Love, not being totally clear who is the feeling and who is the person in the relationship between the cowboys, the ropes, and the horse.[imgtoken data:5]<blockquote>Being in one location... brings a sort of strange cohesiveness to everything.</blockquote>And the egg, of course, because the image of a powerful floating egg being captured, tensioning its delicacy, has a strong effect - something between the adoration of the female reproduction's myth and the weakness of male human violence, always below the truly powerful forces of creation.But I have to confess that this second conceptual approach didn't come at the very beginning; it's not in the treatment. I don't like to go as deep into symbols or conceptual lectures at the start of the trip. This kind of personal digressions become more apparent once you've started the game.Is there an internal logic (or story) within the video that the viewer has to figure out for themselves?Well, not an internal logic in the sense that there's a story, or that everything is symbolic and has the meaning of a secret story. As I said, there was the intention of playing new music with the same notes, a sort of restrictive exercise of distortion and irreverence. I said restrictive because we tried to combine all the elements we have in different declinations (hats and horses and coloured eggs and chickens and make-up brushes and paint stains and classical paintings and group choreographies and the invisibility of feelings) and not expanding beyond our location.[imgtoken data:6]<blockquote>We were in quarantine for a week in the hotel where we shot.</blockquote>I'd like the idea of just being in one location; actually, this brings a sort of strange cohesiveness to everything, as if the characters were more real and belong to the place. I'd love to have the opportunity of explaining a story more conventionally through the boundaries of a music video, but this was not the ideal occasion for it.What did you learn from making that previous video with Dua Lipa for Physical? Did that influence your treatment, and is there a connection between that video and this one?I've learned to work with Dua, basically. She's straightforward and smart and polite and respectful, although she's surrounded by the heavy structure of a Pop Star condition. Sometimes you would like to have just more time with her to work together and decide together and be creative together. But time is really, really, really expensive.And regarding the connection to Physical, not really. The budget was significantly smaller, as well as the window of action, so I was thinking from the very beginning into something lighter in terms of size and less dance-oriented.[imgtoken data:7]<blockquote>Dua's brief was that she pictured herself on a mechanical bull - and that Love Again&nbsp;was her favourite single.</blockquote>You shot in London, and the Grosvenor House Hotel. What were the benefits of shooting in that space?When you are a foreigner, you tend to be more sensitive to what the locals have got used to. It's universal that we all see in the neighbour's walls what the neighbour does not notice anymore. In this sense, I have to admit my enthusiastic excitement towards any detail of the architecture of the Big Dancing Hall. It's just that it looks so average to you, but for me, everything was beautiful and stimulating: the pattern of the carpet, the wood on the walls, the light design, the conception of the space, the amplitude of the stairs... even the smell of the whole place were inspiring.And the dressing room! It's just that I am not used to this, but I appreciate it a lot, so when you got it, you are like a kid in a pastry shop. It was definitely a great decision to shoot there.How did the pandemic and Covid restrictions impact upon the making of the video?We were in quarantine for a week in the hotel where we shot. That was really good, because there was time for work in the location. I remember these days with a strange mix of sadness for the reclusion and the excitement of being in the best place to be confined - a cosy and charming classic hotel. It felt like a pleasant punishment.[imgtoken data:8]How did Dua Lipa enjoy riding the mechanical bull?She enjoyed it, but it was not a crazy, wild experience. Everything was very safe and controlled.Did you really have a horse running through the Hotel?Oh yes. This guy Steve Dent was a great collaborator. He was positive and attentive all the time. The horse was there, dressed with lights and in a green suit.There's a lovely shot in the end credits of the Directors Cut of the horse in a green suit. Was green screen enough to make the horse disappear, or did you need more VFX work?The guys from Eighty4, also in charge of the VFX of Physical, did a great job again. They recreated in 3D all the elements that the horse was naturally hiding. For example,&nbsp;the extension of the body of the stunt jockey - the leg that it's on the other side of the green horse.&nbsp;And they created and animated the hat in 3D for the opening scene too.[imgtoken data:9]<blockquote>[We're] playing new music with the same notes... a restrictive exercise of distortion and irreverence.</blockquote>What were the trickiest shots to achieve in post in the video?The capture of the invisible horse - because it was not clear enough that was a horse when we made the horse disappear. We worked again and again with the tension and the anchor point of the ropes attached to the horse's neck, and we worked a little bit on the natural shadow of the horse cast over the floor as well.What are the main differences between the first version of the video that was released, and the Director's Cut?In the DC there's the initial dialogue following the lyrics of the song - maybe my favourite part! - the edit connections through the classical paintings. There's also less dance, and more shots of the clown cowboys, with a final sequence in the edit with new shots, like the chicken on the TV set, or Dua riding the lighting horse. And the final credits, with the green suit horse, of course![vidtoken data:1]DUA LIPA 'LOVE AGAIN' (THE DIRECTOR'S CUT)Artist:&nbsp;Dua Lipa Label:&nbsp;Warner Production Company:&nbsp;CANADA Director:&nbsp;Lope Serrano aka CANADA Producer:&nbsp;MrMr, Karen Saurí Executive Producer:&nbsp;Marta Bobić Executive Producer: Nicolás Martínez De La Fuente,&nbsp;Eighty4 Cinematographer:&nbsp;Tim Lorentzén 1st AD:&nbsp;Tristan Hefele Production Manager:&nbsp;Ella Knight Production Design Studio:&nbsp;Augmenta Stylist – Dua Lipa:&nbsp;Lorenzo Posocco Costume Designer:&nbsp;Taff Williamson Hair Stylist – Dua Lipa:&nbsp;Luke Hersheson Makeup Artist – Dua Lipa:&nbsp;Lisa Eldrige Makeup Artist:&nbsp;Dorita Nissen Hair Artist:&nbsp;Simon Izzard Choreographer:&nbsp;Charm La’Donna Editor:&nbsp;Carlos Font Clos Post Production:&nbsp;Eighty4 Post Production Coordinator:&nbsp;Marina M. Campomanes, Javier Botella Grading:&nbsp;Marc Morató @Metropolitana Graphic Design:&nbsp;Koln Studio Sound Design:&nbsp;IXYXI Commissioner:&nbsp;Katie Dolan Production Coordinator:&nbsp;Sophie Williams, Noot Coates• More work by Lope Serrano at CANADA <a href="https://canadacanada.com/directors/lope-canada/" target="_blank">here</a>.&nbsp;Thanks to Pablo F. Chocrón for his help with this article.&nbsp;&nbsp;&nbsp;

Lope Serrano of CANADA on Dua Lipa's 'Love Again' - "I tried find a way to escape from clichés."

Dua Lipa - Love Again (Directors Cut)

Dua Lipa 'Love Again' (Director's Cut) by Lope Serrano at CANADA

CANADA's Lope Serrano's second video for Dua Lipa takes the colour-coded song-and-dance production of Physical in another sexy, surreal, and Western-themed direction. With the Director's Cut now released, Serrano's full vision is revealed.Cowboy and cowgirl clowns join Dua in a Victorian hall - the Grosvenor House Hotel in London - and ride invisible horses, wrestle gainfully with a giant floating egg, practice their lines - and of course line-dance.[imgtoken data:1]Of course its Dua Lipa who presides over all, memorably from the seat of a mechanical bull, and also donning the clown make-up -&nbsp;more assured and comfortable than ever as a bone fide music video icon.Like it's star, the whole video is stunning to look at - and blissfully enjoyable from start to finish.&nbsp;A gorgeously glamourous, fabulously&nbsp;frivolous fever dream.[imgtoken data:2][imgtoken data:3]&nbsp;

Lope Serrano

MrMr

Karen Sauri

Marta Bobić

Nicolás Martinez De La Fuente

Oscar Romagosa

Alba Barneda

Ella Knight

Tristan Hefele

Tim Lorentzén

Thomas Nicholson

Jonny Lewis

Brendan Harvey

Justin Denchfield

Studio Augmenta

Lorenzo Posocco

Taff Williamson

Luke Hersheson

Lisa Eldridge

Dorita Nissen

Simon Izzard

Charm La'Donna

Carlos Font Clos

Eighty4

Katie Dolan

Femke Huurdeman celebrates the power of self-love in her splendid&nbsp;promo for Sigrid's Mirror.&nbsp;Each and every vignette in the video is dazzingly art-directed, and could have easily been ripped from the pages of a high fashion magazine. The visual has a distinctly fashion-forward and dynamic aesthetic, with a fun,&nbsp;idiosyncratic energy.&nbsp;Sigrid is the main attraction here, of course. Her charming personality and passionate performance ties everything together in a polished yet relaxed manner.&nbsp;"This is the journey of finding your core,&nbsp;coming to terms with who you are," explains Huurdeman. "Radiating this from oneself is at the heart of the concept of the video."[imgtoken data:1]&nbsp;

Angela Gomez-alba

Gemma Sellares

Marc Miró

Elena Ponsoda Segura

Luis Murua

Alvaro Posadas, @canada

Laura Clayton

Universal Music Operations

Sigrid 'Mirror' by Femke Huurdeman

Sigrid-'Mirror'-by-Femke-Huurdeman

Irene Moray and co-director Elena Martin introduce us to some proper Girl Power in their video for Spanish singer Rigoberta Bandini's Perra.It's a piece that begins with a sense of forboding, as we approach a desolate house in the countryside and hear the sound of a woman crying - but things change as a group of females, including Bandini, emerge from various hiding places, inquisitive about the sound, and then gather to hunt down the source in an upper region of the house.it may not be immediately apparent, but Rigoberta and her pals are acting as if they're dogs - and the freedom of women is being compared to that of dogs. Perra is therefore a protest anthem for feminism, but as the party move outside, into the sunshine, there is increasing positivity about the women's situation.The collective strength of the women is celebrated, and an&nbsp;elder woman to the rest of the group, dressed in flowing hair, actually appears to transform into a lovely dog. The comparison to dog is revealed as&nbsp;a route to becoming 'freer'.&nbsp;[imgtoken data:1]

Irene Moray

Anna Salgado

Carla Celda

Pau Muñoz

Nadia Khairat

Álvaro P. Posadas

Elena Martin

Anna Tabernero

Alternative

Rigoberta Bandini 'Perra' by Irene Moray w/ Elena Martin

Rigoberta-Bandini--'Perra'-by-Irene-Moray.-Co-director:-Elena-Martin

An unassuming old man wanders down to the&nbsp;supermarket - and attracts&nbsp;the avid attention from three outlandish characters of the street, in Rogelio's marvellously wacky video for Madrid punk outfit&nbsp;The Parrots&nbsp;- featuring superstar rapper C Tangana.&nbsp;Rogelio has established himself as a wonderfully exciting new directing talent, with work like his&nbsp;gritty, sexy&nbsp;narrative videos for C Tangana, No Te Debi Besar and Bien Duro. Here he channels the anarchic spirit of The Parrots' Maldito through the half-crazed trio - played by the band, presumably?&nbsp;- who attach themselves to the old guy: the guitar-playing busker-devil, the scary preacher angel... and the dirty tramp.&nbsp;[imgtoken data:1]&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;They follow the old guy around Madrid, who humbly accepts his lot, even when they invite themselves&nbsp;over to his place, which they proceed to wreck. Who knows, maybe they're his kids...&nbsp;And its all as suitably nutty and viscerally exciting as this punk rock banger fully deserves.

Rogelio

Uri Barcelona

Teresa Montanuy

Laura Vandall

Manuela Romero

Heavenly Recordings

Carla Lapiedra

Alex Turrión

Cinelab Film and Digital

Rock

The Parrots ft C Tangana 'Maldito' by Rogelio

The-Parrots-Feat-C-Tangana-'Maldito-'-by-Rogelio

While the parents are away, the girls will play - and, wow, do they play - in directing collective RÉALITÉ's joyously anarchic video for Hot Chip.The video for Straight To The Morning - a track that features Jarvis Cocker on vocals, in the counterintuitive&nbsp;role of disco diva - features a group of early-teenage girls, chomping at the bit to have fun. Given the run of this particular&nbsp;dream family home, they indulge in their own form of hedonism: daft&nbsp;and daring internet challenges, mattress fights, karaoke, and eating all the snacks, all at once.&nbsp;With jawdroppingly&nbsp;destructive consequences.Furniture is rearranged, plates are smashed, vases are smashed, everything is smashed... it's basically the houseproud teen parent's worst nightmare. But it's wonderful stuff for everyone else. Just as the girls never stop, neither does the camera, and the Steadicam movement&nbsp;creates a daydream-style aesthetic.&nbsp;Reminiscent of endless summer days and the innocence - and recklessness - of youth, the video achieves a breezy, upbeat vibe with an overwhelming sense of nostalgia.[imgtoken data:1]&nbsp;Meanwhile, Jarvis appears on the TV, a cameo&nbsp;on a nameless videogame, throwing shapes as the girls live out their rockstar fantasies.&nbsp;Not only a fun way to incorporate the artist, but an interesting moment shared between generations, in a decidedly unplaceable and almost parallel world-style time period.This is a scintillating&nbsp;work by RÉALITÉ, a Barcelona-based&nbsp;collective founded by Jason Causse and Alba Solé&nbsp;who recently signed to CANADA for music videos and commercials.&nbsp;And the video has all the hallmarks of a classic CANADA production, bursting with visual ideas,&nbsp;exceptional super-colourful&nbsp;art direction, and an unmistakeable&nbsp;joie de vivre.&nbsp;It turns out that the track was originally written by Hot Chip with Dua Lipa in mind for performing the vocals. Then the band worked with Jarvis, when they were DJing together at Paris’ legendary Les Bains-Douches last year.&nbsp;“Straight To The Morning&nbsp;is a disco anthem about going out, for a time when people really can’t, and it features our friend Jarvis Cocker urging us to go 'straight through until the break of dawn.'" say Hot Chip.&nbsp;"Somehow he seems an unlikely figure in this all, and we like it that way.”Jarvis adds: “This was the very last musical session I was involved in before lockdown. It felt very poignant to be singing a song about dancing all night long in a club whilst knowing it wouldn’t be possible to do such a thing for the foreseeable future. We danced around the studio quite a lot in the meantime though. It was fun to be a member of the Straight Through Crew for a day.”

RÉalitÉ

Itsasne Santos

Anna Capdevila

Lucas Casanovas

Pitu Fernandez

Jose Carayol

Lluis Murua

Martí Somoza

Domino

John Moule

Synth Pop

Hot Chip ft Jarvis Cocker 'Straight To The Morning' by RÉALITÉ

Hot-Chip-Feat.-Jarvis-Cocker-'Straight-To-The-Morning-'-by-RÉalitÉ

Rosalía and Travis Scott join forces in Nicolás Méndez of CANADA's video for TKN.&nbsp;Sung in&nbsp;Spanish and rapped in English, the track's hook references the Sicilian law of silence: "No new friends or new wounds".&nbsp;Surrounded by gaggle of children - sometimes anarchic, sometimes dancing, sometimes snoozing -&nbsp;Rosalía is very much the boss matriarch&nbsp;of the concept, protecting the kids as they stick close and hang on her every word. Scott can only watch on as the group tear across Los Angeles... before they get sleepy.&nbsp;It's a simple concept but as ever Méndez makes it special with the meticulous composition of each one of a rapidfire sequence of shots. DoP&nbsp;Stuart Winecoff utilises lots of daylight and practical lights, keeping things authentic and real-world. The performances are top-notch, and the cast of kids thrive in the no-holds-barred, dance-filled concept.[imgtoken data:1]

Lisa Margulis

Laura Serra Estorch

Cristina Trenas

Elizabeth Minzes

Stuart Winecoff

Brielle Hubert

Stephen Predisik

Ferran Rial

Samantha Burkhart

Chloe & Chenelle Delgadillo

Chloe Delgadillo

Jesus Guerrero

Rasheeda Raines

Sarah-May Levy

Nicolás Méndez

The Director's Bureau

latin trap

reggaeton

ROSALÍA & Travis Scott 'TKN' by Nicolás Méndez aka CANADA 

ROSALÍA & Travis Scott - TKN (Official Video)

Femke Huurdeman depicts Sudan Archives - aka&nbsp;Brittney Parks - as a fiery vampire queen in her transcendent vision for Limitless.&nbsp;With a spotlight trained on her fangs and a deep blue light pulsating&nbsp;against the backdrop, the opening shot is a haunting preamble that sets the tone for what's to come. Across several&nbsp;setups, Parks explores our obsession with material things, stating "What happened to your dreams? I just wanna go back to times when money didn't make".&nbsp;This perspective on how we change as people when our fortunes improve is represented through surreal, wistful performance setups and conceptual choreography.&nbsp;Dominique Aizpurua's art direction across the visual is understated yet incredibly relevant- stripped back props and unique backdrops allow Parks to focus on her message and performance, and the lack of clutter is in parallel to the hard-hitting lyrics.&nbsp;Limitless is a rare example of a song and visual that transcends its&nbsp;time period and physical location, offering a universal appeal and relatable emotional experience to viewers and listeners.“It’s about opposite elements and how, as a person, you can feel torn between multiple feelings," says Femke Huurdeman. "It’s not choosing one over the other, but it’s about embracing we all have different layers, and once you know that, you can accept those complexities.”&nbsp;&nbsp;

United States

Daniel Vazquez

Dominique Aizpurua

Cris Quer

Estel Roman

Martí Somoza

Alternative Pop

Contemporary R&B

Sudan Archives 'Limitless' by Femke Huurdeman

Sudan-Archives-'Limitless'-by-Femke-Huurdeman

Lope Serrano of CANADA directs Dua Lipa in a gobsmacking colour-coded production number for the Grammy-winning singer’s new single&nbsp;Physical.The video is a sizzling dance routine through a chromatic set, which sees Dua Lipa and her love-partner weave the tension of their affair through different abstract landscapes, while a multi-coloured crew of dancers fired by choreography by Charm La'Donna swirl majestically&nbsp;around them.Working once again with UKMVA-winning production designer Anna Colomer Nogué, Serrano has created a technicolor wonderland - and in classic CANADA fashion mixes in some animation with the live action and choreography - itself a combination of contemporary and classical dance styles - which all works together&nbsp;to bring the track’s powerful energy to life.

Julia Carrasco

Niklas Johansson

Anna Colomer Nogué

Dani Molina

Luis Casacuberta

Adrian Bernal

Anna Cofone

Rubén Mármol

Mathematic

Caroline Clayton

Kane Horn

Dua Lipa 'Physical' by CANADA

Dua Lipa - Physical (Official Video)

Yoni Lappin puts guest vocalist Slowthai front and centre in a mesmerizing near-one shot&nbsp;for&nbsp;his latest video for Mura Masa.The focus of their track Deal Wiv It is gentrification - Slowthai raps about waking up, arguing with his sisters and going to the pub to buy a pint, only to find out gentrification has doubled the price. He's referring to&nbsp;life in Britain, of course, but visually, it's a bit different. This is the second of two Lappin-directed videos for Mura Masa shot in Belgrade, and there is a subtle juxtaposition of the location in the song and the clarly non-British location in the video.But fundamentally, this is all about the livewire energy and sheer charisma of Slowthai&nbsp;captured in a brilliant long take, on 35mm at a much higher than normal frame rate.&nbsp;He tears through a street scene, unabashedly the centre of attention with acrobatic kicks, dancing&nbsp;and jumping&nbsp;around. Slowthai's manic persona is a genuine marvel, his&nbsp;style and attitude are infectious and unforgettable. And filming him in slow motion just makes him more fascinating.&nbsp;Shot by Jake Scott,&nbsp;the raw,&nbsp;almost dirty aesthetic matches the track and concept perfectly, and the autumnal colour scheme brings out the subdued colours of the Belgrade estates and surrounding areas. And a sort of meta-awareness of the camera develops into part of the concept: Slowthai ends up leaping into the camera car - and onto his mate&nbsp;Alex Crossan, aka Mura Masa.&nbsp;

Yoni Lappin

Dusan Popovic

Jake Scott

Nikola Ristić

Nikola Nikolic

Jovana Vukosavljevic

Dejan Mladenovic

Fouad Gaber

Trim Editing

Jason Wallis

Electric Theatre Collective

Richard Grewe

Davey Ahern

Sophie Williams

Nemanja Stojanovic

Marina M. Campomanes

Polydor

Hip Hop

Dance

Mura Masa ft. Slowthai 'Deal Wiv It' by Yoni Lappin

Mura-Masa-&amp;-Slowthai-'Deal-Wiv-It'-by-Yoni-Lappin

Mura Masa explores the state of our youth in No Hope Generation, directed by Yoni Lappin.&nbsp;Shot in Belgrade, Serbia, the striking visual explores society's obsession with nostalgia, and its abilities (and limits) in helping us frame our emotions and memories. Focusing on a series of different characters, the video opens with two girls on a bed talking to each other. One girl shares her fear of getting old and dying, pouring her heart out, followed by the other asking "Can I post that?".&nbsp;This reflection on the lack of empathy and complete chaos that the digital age has ushered in is represented through various vignettes. In another scene, an older woman is bringing tea and biscuits to her family, a traditional memory for many of us. However, the family in this household are completely ignorant to each other's presence, some of them playing with VR headsets, other glued to the desktop computer.Beautifully shot by Jake Scott, the emphasis on raw, daylit footage creates a dreamlike vibe, the overblown highlights in many scenes contributing to the washed out, hyperreal footage. In comparison to many dystopic concepts, which utilise dark, dreary cinematography, this project is much more natural. This helps create a feeling that this reality isn't far off at all, and if we were to blink we could miss its inception. There isn't a huge leap between our lives now and the scenarios on screen, and Lappin's emphasis on this fact makes it truly disturbing.&nbsp;

Keron Sirproverbs

Mura Masa 'No Hope Generation' by Yoni Lappin