Mouthpiece

Production Company

Kode

Harv Frost directs a thought-provoking promo for New York rock band&nbsp;Sunflower Bean, addressing a song about the complex aftermath of trauma.The video for&nbsp;There's A Part I Can't Get Back sees the band members in vintage blue-hued vignettes, performing and working together to push a statue across a church, from the darkness back into the light. Its a symbolic action that reflects the powerful sentiments of the song.A powerful visual,&nbsp;which steadily builds&nbsp;to a beautifully cathartic, healing moment.&nbsp;The triumphant efforts of the group represent&nbsp;their solidarity,&nbsp;supporting one another through disorientation and recovery.&nbsp;“This song is about the lasting scars of grooming - the parts of yourself that are stolen and the anger you carry because of it,” explains frontwoman Julia Cumming. “I didn’t want to write a song about being healed, I wanted to be angry about needing to heal at all.”

Jack O’mullane

Jai Durban

Crista Simiriglia

Harv Frost

Lottie Lindsay-Beavan

Liv Kininmonth

Natasha Duursma

Nathan Killham

Anita Okpongete

Irys Steel

Ant Belle

Emily Leggett

Ayopo Abiri

Geri Docherty

The Quarry

Tim Smith

Rascal

Sunflower Bean 'There's A Part I Can't Get Back' by Harv Frost

Sunflower Bean - There's A Part I Can't Get Back

Harv Frost directs an absorbing girl-meets-girl promo for Manchester rock band Picture Parlour, where vocalist Katherine Parlour makes a play for the girl of her dreams - bandmate Ella Risi - at a Northern Soul club.Taking place at the fictitious venue&nbsp;The Parlour, the video for Who’s There To Love Without You?&nbsp;is an atmospheric ode to youth and finding yourself, and all the strangers and adventures along&nbsp;the way.Intimate, in-your-face camerawork by DoP Adam Singodia and a breathless edit&nbsp;by Geri Docherty&nbsp;help to build the energy and suspense, as Katherine finds her initial advances to the club's DJ (played by Ella)&nbsp;rebuffed.Frost's skill with dramatising the world of the bandmates and their characterisation grounds the fantasy in a recognisable - if brilliantly heightened - reality. And she&nbsp;provides this&nbsp;sapphic and sensual tale with an explosive finale...Katherine knuckles down&nbsp;to the cause, eventually leading to a return to the Northern Soul&nbsp;night at The Parlour - and a steamy bathroom stall hook-up.[imgtoken data:1][imgtoken data:2]

United Kingdom

Jack O'Mullane

Renäta Fabri

Chrissi Smith

Mykola Bulavskyi

Adam Singodia

Rose Lucas

Sam Johnson

Ollie Pearson

Jess Averbeck

Andi Chu

Electric Theatre Collective

Rock

Picture Parlour 'Who’s There To Love Without You?' by Harv Frost

Picture-Parlour--'Who’s-There-To-Love-Without-You?'-by-Harv-Frost

Sugababes are back with an instant classic, and a very slick promo from&nbsp;Dora Paphides.The video for Jungle finds the trio in a vast office space, where a menagerie of artistic vignettes unfold.&nbsp;Switching up between performance, choreography and abstract cutaways, it has all the markers of a classic Sugababes video, filtered through a mature, contemporary lens."I think I approached this video from a fan perspective," explains Paphides.&nbsp;"I’ve loved the Sugababes forever so this was an instinctive thing to do. I sort of thought, what would get me excited watching a new Sugababes video, and led with that instinct."The concept was an editorial/pop take on day and night. I wanted to create this sense of night time and things aren’t what they seem at night.&nbsp; This translated into these office scenes, where the band slowly break out and enter the rave. Blink, and you might miss something. I wanted to create this sense of being in the dark and misinterpreting something you’ve seen. Or being drunk and trying to remember what happened."I looked a lot at Kito Munoz’s work, previous Prada and Rick Owens campaigns... I wanted the classic pop video to have a fashion edge."[imgtoken data:1][imgtoken data:2][imgtoken data:3]

Furmaan Ahmed

King O’holi

Jack O'mullane

Emma Cook

Justin Hamilton

Neil Stuart

Dora Paphides

Laura Taylor

Joe Sherno

Stefan Yap 

Chris Malin

Marcus Albertsen

Oliver Bingham

Cameron Sealby

Isabella Furness

Jason Goh

Devon Maxwell-whyte

Jade Campbell

Dalia Bone

Roisin Donaghy

Jim Bracher

The Post Arm

Ed Chambers

Yash Agrawal

Ikki Dhesi

Sugababes 'Jungle' by Dora Paphides

Sugababes - Jungle (Official Video)

KODE have announced the arrival of director Michael Holyk at the London-based production company for music video representation.Holyk joins KODE having made his mark through collaborations over the past decade with&nbsp;top-tier artists such as Sam Smith, Becky Hill, Anne-Marie, Niall Horan, Rudimental, and Rag’n’Bone Man.Known for his emotionally resonant music videos and documentary-style storytelling, his career began in his hometown of Nottingham whhile still at school, where his A-level project amassed 8 million YouTube views. He then began his professional career in the early Noughties directing&nbsp;music videos for&nbsp;a then-unknown Jake Bugg."Jake was hustling to land a record deal, and I was doing everything I could to get noticed as a director," Holyk recalls. "We were both hungry, both from Nottingham, and that shared drive, combined with a love for the homegrown, made it all feel real.”Since then, Holyk's ability to capture raw, authentic emotion has led to high-profile campaigns for brands like Apple Music, Beats by Dre, Samsung, and Hilton, as well as a directorial stint in Bollywood. Now he has joined KODE&nbsp;for music video&nbsp;representation.&nbsp;"I'm extremely grateful to embark on the next stage of my journey with KODE," he says. "This new beginning isn't just a step forward - it's an opportunity to weave passion with purpose, shaping a future where growth and fulfilment align. The team at KODE has always been genuine and supportive towards me, and I’m thrilled to join a culture that values talent and creativity so deeply. I couldn’t be more excited for what’s ahead.”Nathan Killham, co-founder and Head of Music Videos at KODE adds: “We’ve been a big fan of Michael for many years, but the stars never quite aligned for us to work on something together, until now. He has such an amazing portfolio and I’m really excited to work together to strengthen and further diversify his work.”• Watch Michael Holyk's showreel at KODE <a href="https://kodemedia.com/directors/michael-holyk" target="_blank">here</a>

Michael Holyk

Michael Holyk joins KODE

Andy Goddard directs an absorbing visual for Gustaffson, the band founded by actor/musician Andrew Gower and guitarist James Webster, in Wilton's Music Hall in East London, as Gower's place as frontman is assumed by his wild-eyed alter-ego.&nbsp;The video for On Broadway&nbsp;offers a&nbsp;vignette into the life of tortured artist ‘Wilton’ longing for his next performance on a stage. That moment arrives when he discovers Gustaffson on stage performing the song.With excellent execution, including fine cinematography by Henry Gill,&nbsp;the concept allows Andrew Gower, to bridge the gap of his two loves: music and film. With great performances across the board and an enigmatic, arresting central idea, the video embodies the dreamlike vibe of the track - a romantic ode to New York - without ever leaving the atmospheric Wilton's.&nbsp;&nbsp;&nbsp;

Rosie Stoward

Andy Goddard

Vanessa Mc Donnell

Maria Kalecińska

Henry Gill

Andrew Gower

Philips Nortey

Harry Coleman

Gordon Wong

Molly Hackney

Shelby Cockram

Mike Jones

Daniel Levy

Gustaffson 'On Broadway' by Andy Goddard

Gustaffson - On Broadway (Official Music Video)

Taz Tron Delix directs an impressive multiformat promo for Sam Wise featuring Tiggs Da Author.&nbsp;The video for Twinning experiments with perspective, movement and animation techniques to create something fresh and unique - and slightly unsettling.&nbsp;Packed full of colourful textures and perpetually shifting scenery, the video is a creative feat and a brilliant showcase of the director's animation skills.&nbsp;“Last year I was super inspired by the legendary artist Troy Browne's work to go back to my DIY animation roots and get my hand dirty for this fun one!" Taz Tron Delix explains."With a good mix of them old skool phone jack vibes! A massive thank you to all the collaborators on this one really was a labour of love.”[imgtoken data:1][imgtoken data:2]

Sabrina Wong

Alex Trillo

Taz Tron Delix

Mathew Wilson

Florian Metzner

Sam Wise ft Tiggs Da Author 'Twinning' by Taz Tron Delix

Twinning ft. Tiggs Da Author (Official Video)

Otis Dominique

'The biggest and baddest!' - Otis Dominique on making RAYE's epic Genesis video

RAYE - Escapism. feat. 070 Shake (Official Music Video)

RAYE - Genesis.

RAYE 'Genesis' by Otis Dominique, RAYE

Ricky Gibb directs an ambitious project for James Smith, with a quartet of music videos woven together in a single narrative, to create an 11 minute short&nbsp;- now released as Common People, Full Film.&nbsp;Impressive in scale, and featuring a a dazzling display of performance, choreography and vibrant set pieces, Common People still feels intimate and relatable, and the narrative elements infused in the concept act as a great guide on the journey.&nbsp;"When James Smith and the team at RINSE approached me to pitch this project, it felt like a creative challenge unlike anything that had been brought to me before," says Gibb.&nbsp;"We discussed something cinematic, surreal, and humorous. Four promos, all woven together as one single long narrative film... Right up my street. I was in.[imgtoken data:1]"Ahead of writing, I spent serious time listening to James’ (then unreleased) debut album, COMMON PEOPLE. Drawing from James’ lyrics, I put pen to paper on a narrative that harnessed the young songwriter’s notions of longing, melancholy, and awkward, fumbling love, albeit framed through a surreal and humorous lens. There was some back and forth. Some tracks got swapped out. There was a touch of jiggery and a peppering of pokery. A few sleepless nights. Maybe 57 budget rewrites. Maybe a year or so later, we had it."As a writer/director, driving a project like this from inception to delivery was exactly the challenge I needed at that point in my career. It forced me to grow and adapt faster than ever before. Navigating longer storytelling, a growing cast of key characters, and the intricacies that came with both really tested the limits of what was possible within the budget and time I had to play with."As always, the talent and grit of the individuals involved were the sole reasons a project like this ever got across the line at all. The production team at KODE worked around the clock to fight fires and keep us on track. Good friend and frequent collaborator Joshua Smith directed the movement of a cast of incredible talent, and I finally had the opportunity to collaborate with DoP Kai Blaimey, another friend in the industry whose work I’ve admired for a long time."Working on projects like this makes my soul sing, and I’m really keen for more. I really relish off these long-term collaboration with artists and long-form creative concepts."

Roma Mitchell

Ricky Gibb

Ayomide Alli

Ryan Monteith

Kai Blamey Nguyen

Lily Roberts

Sam Barnham

Justin Theodore

Shane De Almeida

Zoe Fayaud

Isabel Alsina Reynolds

Joshua James Smith

Vicky Fenelon

Sogol Razi

Nathan Greenwood

Jonny Tully

CHEAT

Laura Kelly

James Smith 'Common People (Full Film)' by Ricky Gibb

James Smith - Common People (Full Film)

It's been building ever since their first single came out, and now the mystique around The Last Dinner Party reaches new heights with the release of their&nbsp;new short film, directed by regular collaborator Harv Frost - who tells us how the band's passion in front of the camera was mirrored by her passion behind it. Main pic: Harv Frost.The Last Dinner Party appear to be unstoppable. In barely a year they have come from nowhere to being a major force, with a legion of adoring fans - many of whom are young females who are inspired by the aura and aesthetic that the fivepiece all-female band themselves convey and the message of passion, freedom, romance and theatrics in their music and lyrics.Harv Frost has been along for the ride since co-directing the video for My Lady Of Mercy with Dora Paphides last autumn, and then directing the&nbsp;Caesar On A TV Screen promo on her own, dovetailing smoothly with the band's strong sense of their own image.&nbsp;Now comes Prelude To Ecstasy: A Short Film, a cinematic extension of the band's distinctive universe - named after their debut album. It places the band within the&nbsp;surroundings of an exclusive performing arts academy, as TLDP frontwoman Abigail Morris arrives on her first day.&nbsp;[vidtoken data:0]Under this alluring overarching&nbsp;concept, the film includes four songs - Ghuja, The Feminine Urge, Sinner and Burn Alive&nbsp;- three of which could exist on their own account as music videos. Indeed one of those has become the music video for The Feminine Urge. But it also works as a whole, evoking a sense of nostalgia with its cinematic references, while hinting at the future of the band and greater things to come.&nbsp;We talked to Harv Frost to get her insight on the making of Prelude To Ecstasy: A Short Film, what she hopes its achieved - and&nbsp;her own role in the band's irresistible rise.<blockquote>I was hearing rumours about the band's origins that were far-fetched and dramatic - and I was inspired.</blockquote>PROMONEWS: Having made a few videos for the band, what excited you about making a short film?HARV FROST: As a music video director and super-fan, is there any prospect more exciting? After collaborating with the band on <a href="https://www.promonews.tv/videos/2023/10/13/last-dinner-party-my-lady-mercy-harv-frost-dora-paphides/83648" target="_blank">My Lady Of Mercy</a> and <a href="https://www.promonews.tv/videos/2024/01/09/last-dinner-party-caesar-tv-screen-harv-frost/84627" target="_blank">Caesar On A TV Screen</a>, it felt like I had only scratched the surface on what could be achieved with the band. A wealth of visual references had yet to be touched, so working on longer-form project was a really thrilling opportunity.I was excited to create something bigger than we had done previously - more cinematic, more holistic and spend even more time living in the TDLP universe. Honestly, it was a dream come true for me!What’s the objective in making the film? What were you most keen to put across that hadn’t been evident in the previous videos?HF: In all honesty, this film was made for the fans. The band had an insane year, and the reception of the album was so explosive, it only felt right to revel in it with something special (and TDLP don't shy away from the theatrics, if you haven't yet noticed). Their fans are so amazing, and the film gave them something physical to sink their teeth into.It was important to me that each member of the band was highlighted as an individual, as well as a collective. In track two in the film, The Feminine Urge, I was able to give them each a set up of their own, to really flesh out their characters - inspired by the characterisation that you see in individual band members of K-Pop Groups.[imgtoken data:1]<blockquote>The band read my treatment for The Feminine Urge and said&nbsp;'we think this idea could be a whole film'.&nbsp;&nbsp;</blockquote>I also wanted to create something that existed in the rich visual world the band has already created. They have such a clear aesthetic that it felt like we had established the rules of what a film by The Last Dinner Party would look like. So it was exciting to have the chance to tell stories within that relm and see how far we could push it.I saw the beautiful (and now iconic) album artwork that <a href="https://www.calmcintyre.com/" target="_blank">Cal McIntire</a> shot: the family portrait of the band hanging on the mantelpiece. I just imagined the place that mantelpiece might exist, where that photo might have been taken and story behind it, then, dressed the world around it. I wanted to give the fans the full picture.&nbsp;How did the project start and how did you come up with the overarching concept of the performing arts school idea?Well it started with the treatment I wrote for The Feminine Urge, which took place inside this grand hotel (think <a href="https://www.imdb.com/title/tt0081505/" target="_blank">Overlook Hotel</a>) - the video obviously following each individual band member as they purged their feminine urges. WIth it, I had written a lot of context that it would exist in. The band read the treatment and turned round and said: “we think this idea could be a whole film.”[imgtoken data:2]<blockquote>Suspiria&nbsp;- both&nbsp;original&nbsp;and remake - and TDLP just made perfect sense.</blockquote>The next step was convincing everyone else involved to make it! I knew each video would need to stand alone, and that the overarching link would be this building where all the stories unfold.I continued to be inspired by the mythos of the band. I had worked with them twice already, and had heard rumours of the band's origins that felt very far-fetched and dramatic - things like they're all related to Royalty, or that they met at boarding school. So the idea of them meeting at a highly prestigious performing arts school run by (maybe) witches, or a higher supernatural power, sounded just as likely as anything else.Prelude to Ecstasy&nbsp;in some way is sort of the writing of our own fictitious backstory to the band's history.&nbsp;Also, Suspiria&nbsp;- both Argento’s original and Guadagnino’s remake - and TDLP just made perfect sense. The themes of femininity and performance, sisterhood and competition all just felt right for this, and somewhat reflective on their career so far. What were your big references for the cinematic flavour of the film?There are a few that were really formative for this. For the opening sequence I was heavily inspired by fantasy genre tropes and specifically <a href="https://www.imdb.com/title/tt0978764/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_suckerpunch" target="_blank">Sucker Punch</a> (2011). I wanted the audience to feel like they were stepping into a world with a different set of rules where anything could happen.[imgtoken data:3]<blockquote>I was interested in the characterization of individual members in K Pop groups and applying that to the band.&nbsp;</blockquote>Then there is the obvious, Suspiria - both original and remake - as well as other Giallo movies for both Feminine Urge and Gjuha - with Gjuha being the part of the film that really hits that Argento reference point. For Sinner, films like Picnic At Hanging Rock&nbsp;for its aesthetic, and of course, 2019’s Midsommar&nbsp;for its use of daylight in the horror genre. The way it was able to achieve such a sinister atmosphere despite most of the film taking place in glorious sunshine, was so interesting to me.For Burn Alive, <a href="https://www.imdb.com/title/tt0019254/?ref_=nv_sr_srsg_0_tt_5_nm_3_in_0_q_The%2520Passion%2520of%2520Joan%2520Of%2520Arc" target="_blank">The Passion of Joan Of Arc</a>&nbsp;inspired what you see the fictitious band do on the TV screen in the dorm room. As well as <a href="https://www.imdb.com/title/tt3908142/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_the%2520love%2520witch" target="_blank">The Love Witch</a> and, of course, a little bit of Kate Bush. However the reference that inspired me the most was Andrze Zulawski’s <a href="https://www.imdb.com/title/tt0082933/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_possession" target="_blank">Possession&nbsp;</a>(1981).This was a film I watched at the very start of the process that formed the visual style for the entire project, but especially the last track. From the cold blue colour palette of Anna and Mark’s apartment to the iconically harrowing underpass scene, which Abigail (lead singer) completely nailed in that final 'birth’ scene. She was actually watching this scene right before we shot our version, and I have to give her huge props for how much she embodied this.It was extremely physical, and I think Isabelle Adjani would be very proud of Abigail's execution of this scene. In the final edit, it was just a few shots, but that performance is probably the thing I'm most proud. This scene shows Abigail giving birth to a star, and that's truly what she is, in the truest sense of the word.[imgtoken data:4]<blockquote>This scene shows Abigail giving birth to a star, and that's truly what she is.&nbsp;</blockquote>Where did you shoot the film? And how did you structure the shoot?We shot this just outside Dulwich, at a place called Kingswood Arts. It's an incredible building that sits in the middle of the Kingswood Estate, and is used by the community for the arts. They host ballet lessons, painting and even open it up as part of a school campus.The location was key. We actually ended up shooting everything 360, and lighting from the outside of the building most of the time, after realising that the building is too stunning not to show it all.We shot the majority of the film in three days (including a pre-light and rehearsal day). We then picked up Sinner on another day, as this was shot just outside in St Albans on the hottest day of the year. It worked perfectly for the task of splashing around in a lake, so we really couldn't have asked for better!The Sinner shoot was probably my favourite day at work, ever. We were in a beautiful location, on a gorgeous day, with the most incredible crew imaginable. It was all so playful, and masterfully managed by my 1st AD Rose Lucas. I feel like everyone had got to know each other so well by that point, and it was so collaborative, we had a blast. My face hurt from smiling at the end of it!It was one of those days where you feel like the luckiest person in the world. There I was, standing on the bank watching a strobing lighting rig being lowered to the bottom of a lake and saying “I can't believe they let me do this”. There were a lot of moments like that on this project.[imgtoken data:5]<blockquote>My DoP&nbsp;Natasha Duursma...&nbsp;was as passionate about the project as I was, and as mental I am.</blockquote>It’s very successful in creating a distinctive world around the band - while each part works individually too. What were the main factors in achieving that goal?&nbsp;I'm glad you think so. I think for me it was about doing each song justice. Gjuha has such a different tone to Sinner, so establishing the rules at the start of the film and framing this all as sort of episodic tableaux really helped. I didn't want to be stuck in one genre and wanted the freedom to move the aesthetics and story as the songs needed them to. I used the building and sense of space to my advantage, to give the viewer a mental map and anatomy of the academy.The key factors for achieving this world are made up from its parts - by the work of my art director <a href="https://www.instagram.com/furmaan.ahmed/?hl=en" target="_blank">Furmaan</a>, who was able to dress the rooms with so many beautiful details that help to root the viewer in the location. For example seeing ballet flats and medals hung in the dorm room in Burn Alive. They did a fantastic job of linking all the tracks together.In addition to the exceptional styling by <a href="https://rubinavitamarchiori.com/" target="_blank">Rubina Marchiori</a> that gave the film so much identity and personality. Rubina did a truly incredible job, tying in so many references and creating a really cohesive world that felt timeless and original.Finally, the work of my DoP, <a href="https://www.natashaduursma.co.uk/" target="_blank">Natasha Duursma</a>. She understood what makes the band so cool and was really devoted to getting the best possible shot, (even getting into the lake while whipping a heavy camera around in a floating fish tank on the water!). She is an incredibly creative DoP, who brought so much to building the look. I was lucky to shoot all TDLP videos on film, and she was a real champion on that. I didn't even know what a bleach bypass was before we were on set shooting Gjuha and she asked to do it. She was as passionate about the project as I was, and as mental I am too![imgtoken data:6]<blockquote>We couldn't rely on the traditional short film structure, I needed payoffs in every track​.</blockquote>Within the structure of the film you’ve prioritised performance over an overt narrative. When did you reach that decision?be watched alone or together. I wasn't sure at the time of making this, how it was going to be released, or even in what order. It could've been released one by one or watched all at the same time, so we couldn't rely on the traditional short film structure. I needed setups and payoffs in every track, rather than one big payoff and resolution at the end.I was also looking at my inspiration in these spiritual/body horror movies and noticed that they don't spell it out to the audience. A good film within this genre trusts the audience to fill in the gaps themselves. Instead we wanted to get the best possible performances out of every single band member, and give them the freedom to change things as they felt.I jokingly said ‘follow your instincts’ a lot on set - but it was very true. We were like kids playing dress up, and that's how I like my sets. For that to happen, you need a frame to work from but the flexibility to colour it in as you go.<blockquote>I jokingly said ‘follow your instincts’ a lot on set - but it was very true.</blockquote>I wanted all their voices to be heard and for their identity to be in this, so I wanted to prioritise this over a strict narrative in order to facilitate it all.Why do you think your collaboration with TLDP has been so successful?I think it's been so successful because they see how much I care about their visual world, and that I'm ready to fight to make it happen. I owe them so much for taking a chance on this crazy gal! We met at a time when both parties had a great deal to prove, and I think through our collaboration both the band and I have found our voice visually.Creating a bonkers Shakespeare video for Caesar felt like a risk after co-Directing My Lady of Mercy with the uber-talented, Dora Paphides, but I think it showed the band that I was confident in them as performers and as actors. When it came to Feminine Urge, I thought about the things I had seen them thrive in on other videos and what they like to do and worked from there.I also think we have profited off drawing from similar pools of inspiration, so that helps when it comes to imagining how it's all going to look and feel. The band is filled with true artists, who really care about the medium of music videos and how it relates to their sound, and they treat me as a sixth member of their coven. With so much trust and faith.[imgtoken data:7]<blockquote>I've found what makes a ‘Harv Frost Video’, and it's given me confidence going forward to other projects.</blockquote>Have to also thank Joshua Mitchell at the label, who has become a good friend and valued collaborator over the course of these videos. We have developed a really wonderful working relationship and showed me total trust and creative freedom which was really motivating throughout. Through working with The Last Dinner Party I've really found what makes a ‘Harv Frost Video’, and it's given me so much confidence going forward to other projects.&nbsp;Lastly, KODE was so supportive in the making of this film. They truly gave me all the backing I needed to make this happen. I rhad all the tools at my disposal and they had my back in every way possible. They are a big reason that this relationship between the band and I has been so fruitful and fulfilling.• Harv Frost is a director at <a href="https://kodemedia.com/" target="_blank">KODE</a>, represented for music videos by <a href="https://www.mouthpiecerep.me/" target="_blank">Mouthpiece</a>. Check out her work <a href="https://kodemedia.com/directors/harv-frost" target="_blank">here</a>. More BTS pics from the Prelude To Ecstasy shoot <a href="https://www.instagram.com/p/DATyM4HoZrn/?hl=en&amp;img_index=1" target="_blank">here</a>.

'I wanted to give the fans the full picture.' Harv Frost on The Last Dinner Party film Prelude To Ecstasy 

Prelude to Ecstasy - A Short Film By The Last Dinner Party

Edie Amos directs a mesmerising promo for Snow Patrol, filmed at the band's concert at Thomond Park Stadium in Limerick, Ireland in July.&nbsp;The video for All captures the group's performance with dynamic camerawork and editing flair, bringing the viewer to the heart of the event.Using multiple cameras&nbsp;and operators, Amos&nbsp;captures&nbsp;the energy&nbsp;of the show, blending traditional live shots with creative angles to immerse the crowd into the story, whilst using the recorded version of the track.&nbsp;

Edie Amos

Kirstin Cruickshank

Kia Fern Little

Sam Taylor-edwards

Nigel Tadyanehondo

Snow Patrol 'All' by Edie Amos

Snow Patrol - All

Following her videos for the band, Harv Frost draws us further into The Last Dinner Party's distinctive universe&nbsp;with a short film,&nbsp;comprising of four music videos for the group, set in a mysterious all-female arts and dance academy.&nbsp;Drawing influence from the likes of Argento's Suspiria and other 1970s masterpieces, Prelude To Ecstasy&nbsp;works both as a single film and individual promos for the tracks - including The Feminine Urge, which has already been released as a music video.&nbsp;As a whole, and within the school&nbsp;setting&nbsp;that reinforces a narrative (whether true or not)&nbsp;about the origins of the band, Harv Frost takes the opportunity for each bandmember to shine, and for them to exhibit their unusually close bond as a group.And with Frost working with collaborators from previous videos, like DoP Natasha Duursma and production designer Furmaan Ahmed, there's strong thematic&nbsp;continuity with those projects.&nbsp;Once again, it's&nbsp;all about the passion, romance, melodrama and style, as well as the music, and with its marvellous execution&nbsp;Harv Frost and The Last Dinner Party have delivered a real treat for the band's fans.&nbsp;[imgtoken data:1]&nbsp;&nbsp;&nbsp;&nbsp;[imgtoken data:2][imgtoken data:3]

Théïa Maldoom

Cameron Culver

Taise Kerr

Ollie Ireland

Rubina Vita Marchiori

Isabella Culver

Chris Broomfield

Esteban Gimpelewicz

Aisha Kemp

Sam Rawlings

Mark Gee

Sonia Rodriguez-serrano

Kairo Jones

Hannah Godley

Grace Ellington

Eden Read

The Assembly Rooms

No.8

Shivum Solanki

Digital Orchard

Indie

The Last Dinner Party 'Prelude To Ecstasy' by Harv Frost

<h3>In our latest Snapshot, the KODE director talks about why pop music is so exciting right now, her obsession with a classic Jonathan Glazer video and feeling like Timothee Chalamet.</h3>Having made start as a music video director&nbsp;with promos for Eaves Wilder and Fred Roberts, Dora Paphides joined KODE almost exactly a year ago. Since then she's directed videos for The Last Dinner Party and Chinchilla - working with fellow KODE signing Harv Frost - and Ella Eyre and Sports Team.She's also a photographer, working with brands like Juicy Couture and JD Sports, shooting album artwork and artists for magazine shoots. So she's busy - but Dora still found the time to spill some beans about what's going on in her life for the Snapshot Q&amp;A...Name: Dora PaphidesBirthday: 05/02/2001Where did you grow up? North London!Place of further eduation and course (if any)? I left education at 18, after attending The BRIT School (16-18) to specialise in film.Where do you live now? Bethnal Green!What were the important first projects for you, in terms of a learning experience and getting&nbsp;noticed?I’m still at the beginning of my journey, but <a href="https://www.promonews.tv/videos/2023/10/13/last-dinner-party-my-lady-mercy-harv-frost-dora-paphides/83648" target="_blank">My Lady of Mercy [for The Last Dinner Party]</a>. The band were honestly&nbsp;sensational, really magnetic and so clear in their vision. They’re a band with real artistry and it was&nbsp;such a pleasure working with them and being a part of their world.[vidtoken data:0]Best film you’ve seen this year? <a href="https://www.youtube.com/watch?v=_ckWTn-y5Rw" target="_blank">Harold and Maude</a> [directed by Hal Ashby, 1971].Favourite song/album/music artist this year? It really feels as if club music is coming back and I’m so here for it. I’ve currently got The Dare, Shygirl, Elkka and Tove Lo and SG Lewis’s EP on repeat.Favourite music video/videos you’ve seen this year? Everyone is saying it but <a href="https://www.promonews.tv/videos/2024/07/23/jade-angel-my-dreams-aube-perrie/87449" target="_blank">Aube Perrie’s Angel Of My Dreams&nbsp;for JADE</a>&nbsp;blew my mind. To direct a commercial pop video that is dark, so stuffed with symbolism, glossy in some respects but offbeat, with such a tight narrative arc (and world) is unbelievably impressive. It taps into this thing currently where I think people want to see real, messy popstars (hence the rise of BRAT). Pop music currently is the most exciting it has been in years.<blockquote>I watched America's Next Top Model when I was a kid - and became hooked on fashion photography.</blockquote>It didn’t come out this year, but I’ve been obsessed with The Universal by Jonathan Glazer for Blur. Damon is absolutely captivating, and it’s a real absurdist love letter to people and life, but tinged but such a deep sadness (as well as a homage to A Clockwork Orange). It made me able to rehear The Universal away from The British Gas adverts lol..[vidtoken data:1]I went to <a href="https://www.youtube.com/watch?v=_E-N9qaGUSE" target="_blank">Marina Abramović’s exhibition in the RA</a>, and the video of her partner pointing the arrow into her heart is maybe the most visceral pieces of art I’ve ever seen. Watching her art is like drinking from the original source, you can see how much her art has changed the world.What has been (or usually is) your favourite night out this year? I had an amazing Glastonbury this year. I’ve been slacking on nights out - I normally invite people to my house to drink with me and play games and chat.Name a film or video or other creative work that had a huge influence on your career choice?Honestly, I remember watching America’s Next Top Model when I was a kid, and I was so obsessed with seeing how the photos would turn out at the end. After that I became hooked on fashion photography.My teenage bedroom was covered in HP printed images of Tim Walker’s, Ryan McGinley’s, Elaine Constantine’s and David LaChapelle’s work (I also liked normal teenage things like The 1975. But yes, I was basically like Timothee Chalamet’s role in Lady Bird).[imgtoken data:1]Photo: Tim WalkerIn terms of&nbsp;music video-related jobs of the past year or so - what was the most rewarding creatively, and why?I really loved making <a href="https://www.promonews.tv/videos/2024/06/11/ella-eyre-ain%E2%80%99t-no-love-blind-dora-paphides/86777" target="_blank">Ain’t No Love That Blind by Ella Eyre</a>. It was the first time really where I felt confident in my own abilities and felt really sure in myself about the decisions I made. I had loads of people around me who believed in me, but if I’m honest (not to sound cheesy) before then I didn’t believe in myself. Making the choice to back my decisions and my ideas, has changed my approach to directing and pitching for the better.OBVS&nbsp;this was also helped by Ella being amazing the most EGOT performer ever. She really put the work in learning and perfecing that choreo, we only had a two-hour window to shoot all the dance stuff and she just absolutely nailed it. We were all screaming on the other side of the monitor. She’s AMAZING.[vidtoken data:2]<blockquote>Making the choice to back my decisions and my ideas, has changed my approach to directing and pitching for the better.</blockquote>What are your favourite other (non-mv) projects of the past year or so?I just shot the cover for <a href="https://www.gaytimes.com/music/kate-nash-9-sad-symphonies-cover-interview/" target="_blank">Gay Times with Kate Nash</a>, who’s now a long time friend and collaborator. She’s absolutely amazing, a genius and a total force — the cover we shot is really special.&nbsp;[imgtoken data:2]What’s the most surprising thing that’s happened this year? a) Falling in love b) Not being able to stop making car-based videos. I’ve made two so far this year, and hoping to move into more vehicles before 2024 is out.Your top suggestions to change and improve how the music video industry works?&nbsp;I saw <a href="https://www.promonews.tv/interviews/snapshot-qa-pedro-takahashi/87323" target="_blank">Pedro Takahashi’s Snapshot</a> and I think paying directors for writing treatments would definitely help. I think also having more regulations and transparency around the pitching process. Music videos directors are the only directors in the industry not to have unionised, which really doesn’t give us a voice.What are you looking forward to most for the summer and/or the rest of the year?&nbsp; I've planned a few personal shoots which I'm excited about&nbsp;doing and I'm also off to New York for a couple of weeks!• Dora Paphides is signed to <a href="https://kodemedia.com/" target="_blank">KODE</a> and represented for music videos by <a href="https://www.mouthpiecerep.me/" target="_blank">Mouthpiece</a>; watch more of Dora's work <a href="https://kodemedia.com/directors/dora-paphides" target="_blank">here</a>

THE SNAPSHOT Q&A: Dora Paphides

The Last Dinner Party - My Lady of Mercy

Blur - The Universal (Official Music Video)

Ella Eyre - Ain’t No Love That Blind | Official Video

Harv Frost directs a characteristically expressive&nbsp;promo for The Last Dinner Party.The video for The Feminine Urge has an elevated, vintage vibe, delivering a devastating but relatable message. Each band member has their own performance vignette, visualising the cyclical nature of the&nbsp;stifling expectations placed upon women in society. The band members eventually liberate themselves via individual acts of subtle rebellion and enjoyment of their new feelings of freedom, even if it’s temporary.It's an&nbsp;important message, translated into a stirring visual montage. Anchored by a grand location and offbeat colour palette, the video has a heavy dose of otherworldliness throughout - and it's executed to perfection.&nbsp;"This was all about creating something that really embodied the feminine urge to throw a chair across a room or peel all of your skin off," explains Harv Frost.&nbsp;"Set in the backdrop of a prestigious dance school (à la Suspiria), it’s also about the expectations of brilliance and perfection of women in the public eye, and the desire to just let loose, and you know, smash it all up."&nbsp;

The Last Dinner Party 'The Feminine Urge' by Harv Frost

The Last Dinner Party - The Feminine Urge (Official Video)

Sports Team return with a video directed by Dora Paphides made in the spirit of pop promos from the 1970s and '80s.The single I'm In Love (Subaru) marks a change in a musical direction for the erstwhile indie-rock outfit to an 80s-tinged pop-soul sound - replete with Spandau Ballet-style saxophone. The studio-set video duly pays homage to the period, with vocalist Alex Rice centre-stage amid his ST bandmates and a crucial prop - an era-appropriate&nbsp;Subaru car.&nbsp;&nbsp;&nbsp;The video plays with light and shadow to recreate the look of videos of the times, whilst elevating certain aspects to modern day standards."Working closely with the band, and [DoP] Tasha Duursma, we looked at a lot of Roxy Music vids and Spandau Ballet," reveals Paphides.&nbsp;"We wanted to make a homage to music videos of this era - from artists who may have been inspired by the Blitz club - but with some punchier, editorial, contemporary details."It needed to be part-editorial, part-music promo. [And] it was essential for us to shoot this with the types of grip/rigs that would’ve existed at the time for a real sense of authenticity."

Angelica Wolanska

Keeley Dawson

James Hackett

Vini Curtis

Joe Mulvihill

Alex Bojic-aguilar

James Huthwaite

Sara Faulkner

Homespun

Megan Lee

Sports Team 'I'm In Love (Subaru)' by Dora Paphides

Sports Team - I'm In Love (Subaru)

Otis Dominique and RAYE continue their standout collaborative streak with this dazzling seven-minute epic for Genesis.&nbsp;It's a video of two parts - the first five minutes are a darkly conceptual, twisty ride through societal woes, fear and&nbsp;depression. The final two minutes are the antithesis of this, exuding hope, light and love.&nbsp;Shot across a week, the video is hugely ambitious, with a blockbuster sense of scale and&nbsp;an infectious mix of choreography, performance and conceptual vignettes. DoP David Wright responds brilliantly to the complexity of Dominique and RAYE's brief, with cinematography that spans from darkly cinematic to mock-TV ad colourful&nbsp; to&nbsp;off-the cuff doc style.[imgtoken data:1]Written by Dominique, RAYE and her creative director Mikey Robbins, it's a&nbsp;momentous visual - one of the biggest of the year so far.&nbsp;“It's always special when me, RAYE and Mikey link up but feel we went to a different, different level with this one!" Dominique says, justifiably."It feels surreal that it’s actually out in the world now and people can take it in. We shot the video across seven days and the whole crew and team were phenomenal too and I’m honoured to have met and worked with so many great people throughout this project. It’s hard to sum up in few words but hopefully the film and music can do the talking for now 🖤”