Director's Representation

Mouthpiece

Dora Paphides directs an evocative, studio-based&nbsp;promo for Perrie.&nbsp;The video for Rocket Scientist is a stripped-back masterclass in minimalism, carried by Perrie's emotional performance, inspired&nbsp;styling and water-based vignettes.&nbsp;DoP Adam Singodia's use of&nbsp;contrast and shadow adds a textural feel to the video, creating a raw and intimate aesthetic.&nbsp;

United Kingdom

Aaron Carlo

Dora Paphides

Wojciech Czarkowski

Kode

Michael Lewin

Kian Altmann

Adam Singodia

Nathan Killham

Henry Richmond

Oli Hill

Ollie Pearson

Richard Perry

Lauren Coutts

Megan Lee

Electric Theatre Collective

Perrie 'Rocket Scientist' by Dora Paphides

Perrie - Rocket Scientist (Official Video)

Tyrus directs a coruscating, atmospheric promo for dance&nbsp;producer Sub Focus, featuring Fireboy DML and Irah.&nbsp;The video for Original Don is a quick-cut black and white promo, with enigmatic performance setups and feverish dance moves taking centre stage.&nbsp;Keeping things slick and simple, everything takes place in a large industrial space, with strobing lights and projections blurring together in frantic harmony.&nbsp;A rousing visual to get you off your seat.[imgtoken data:1][imgtoken data:2]&nbsp;

Alysha Patel

Kash Powell

Rory Clarke

Oliver Whitworth

Aga Dziedzic

Tyrus

Bertin Avdiu

Academy Films

Kim Jarrett

Ken Liew

Cassius Kane

Sarah Jaffe

Heza Jalloh

Katya Chatwell

Max Tuite

Ruby Yu

Lucy Grinham

Samuel Maton

Slink Post

Danyal Kadir

Island Records

Dance

Electronic

Sub Focus Ft. Fireboy DML And Irah 'Original Don' by Tyrus

Sub-Focus-Ft.-Fireboy-Dml-And-Irah-'Original-Don'-by-Tyrus

The Rolling Stones' incredible history comes to life in Camille Boumans' fabulous mixed-media promo for The Stones's rollicking cover version of Shirley &amp; Company's Shame, Shame, Shame.&nbsp;The video is an explosion&nbsp;of The Stones' greatest moments, a vibrant archive of vintage clips and stills, unfolding through the&nbsp;pages of a&nbsp;packed scrapbook. It's a concept which allows Boumans to deliver a huge amount of information - vintage footage, lines of lyrics,&nbsp;a miscellany of textures - with lots of imaginative graphic ideas.&nbsp;It also feels hand-crafted, like it was stitched together with bits and pieces from the Stones archive with a lot of love - and as its a bit rough around the edges, with pure&nbsp;rock ’n’ roll attitude.[imgtoken data:1][imgtoken data:2][imgtoken data:3]

Amy Hancock

Adolfo Redaño

Camille Boumans

Leo Green

Sharlene Oola

Partizan

Joanna Asia Szyczewska

Semera Khan

Danny Herman

Lauren Mills

Jack McGinity

Studio RM

Polydor

Rock

The Rolling Stones 'Shame, Shame, Shame' by Camille Boumans

The-Rolling-Stones-'Shame,-Shame,-Shame'-by-Camille-Boumans

Fred Rowson teams up with the evergreen Mael Brothers for the latest release in Sparks'&nbsp;50-plus year career, with a video featuring Rebecca Lucy Taylor - aka Self Esteem - and a steamroller.For Porcupine, a characteristically quirky Sparks song about a woman with a rather spiky temperament, Rebecca is&nbsp;cast as a femme fatale harbouring a vendetta, with keys to the very latest in steamroller technology.&nbsp;Cue low-speed thrills as Russell and Ron are faced with a vengeful Rebecca at the wheel of the&nbsp;Lamborghini of steamrollers.There can only be one possible outcome...&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;

Katie South

Fred Rowson

Jack Bingham

Blink Productions

Stefan Yap

Paul Weston

Lottie O'Connell

Anil Duru

Ethne Read

Lauren Bell

Fey Carla Adediji

Byron London

Sam Sneade

Nielsan Bohl

Nicola Simmons

Selected Works

Alternative

Sparks 'Porcupine' by Fred Rowson 

Sparks-'Porcupine'-by-Fred-Rowson

Iggy London returns to music videos with an effervescent affair for rising R&amp;B star&nbsp;Sekou.The delightful video for Catching Bodies features the young British singer strutting their stuff&nbsp;through a London estate&nbsp;on a hot summer's day, through the buzz of everyday life - and performing mostly to the camera on a shot tracking along the street.Iggy provides a uplifting sense of the joy in a sizzling summer's day in the city, elevated by the colour palette of Peter Bishop's cinematography and Tim Smith's grade.&nbsp;Above all, it's a vehicle for Sekou's distinctive personality and a song that should keep the summer vibes going for a while longer.[imgtoken data:1]

James Middleton

Frankie Spence

Charlie Dalton

Jai Durban

Ellie Rimmer

Iggy London

Sam Murray

Park Pictures

Dan Curwin

Harrison Newman

Peter Bishop

Shelley Jones

Tara Leonard

Embla Conneely

Laura Carrion Del Pozo

Alex Hudson

Toby Mckay

Kairo Jones

Remi Black

Manu Loca

Marie Reitner

Ben Elkaim

Trim Editing

Tim Smith

Rascal Post

Sekou 'Catching Bodies' by Iggy London

Sekou-'Catching-Bodies'-by-Iggy-London

Jake Erland's latest for&nbsp;Olivia Dean continues in the uplifting musical theatre atmosphere&nbsp;of his previous videos for the singer's soon-to-be-released new album, The Art Of Loving - a smooth and smart combination of performance and craft.In fact, the video for Man I Need takes the 'backstage' ambience of Olivia's video for <a href="https://www.promonews.tv/videos/2025/07/08/olivia-dean-nice-each-other-jake-erland/91763" target="_blank">Nice To Each Other</a> and brings it up a notch in sophistication. Olivia once again moves between scenes courtesy of&nbsp;theatrical devices and in-camera sleight of hand, but the transitions and scenery has a more front-of-house feel.And once again, Olivia Dean provides an on-screen warmth and relatability that has been a feature of her videos from the start. A great addition to the successful&nbsp;video campaign for her much-anticipated new album.&nbsp;

Furmann Ahmed

Simone Beyene

Jake Erland

Rowan Macintosh King

Isabella Furness

Mesh Henry

Olivia Dean 'Man I Need' by Jake Erland

Olivia-Dean-'Man-I-Need'-by-Jake-Erland

Dora Paphides is back with another pop extravaganza - this time for Perrie's new track, putting their own&nbsp;twist on some classic chick-flick movies.&nbsp;Featuring the song's co-writer Nina Nesbitt, the&nbsp;video for If He Wanted To He Would is a mash-up of the likes of&nbsp;Mean Girls, The Holiday, Pretty Woman, Love Actually - or an alternative ending to&nbsp;The Princess Diaries, where instead of happily-ever-after, Perrie and Nina decided to storm the palace and wreak havoc.[imgtoken data:1]It begins with Perrie driving to the big country house, where Nina watches her ex-boyfriend (Jack Brett Anderson) plead for forgiveness for his misdeeds via the medium of written placards ("Sorry I Slept With Your Sister", etc)&nbsp;in the style of the famous scene in Love Actually.&nbsp;And then Perrie's car runs him over.While Perrie&nbsp;and Nina celebrate their friendship&nbsp;in the big house with some pampering and dressing up, the vain ex continues to provide the laughs through his hapless attempts to gain Nina's attention - and eventually gets more comeuppance from Perrie. A strong concept that's impressively executed and a&nbsp;fitting accompaniment to the track.&nbsp;[imgtoken data:2]"When writing this, I really wanted to celebrate female friendship - the power of platonic love and the joy of showing up for your mates," explains Paphides.&nbsp;"For me, directing is about holding up a visual mirror to the song, and this track is overflowing with joy. Perrie came in with brilliant ideas about referencing movies, which I loved, because it gave us a shared language to build from. The heart of the video is the very real experience of heartbreak and the comfort of friends - but placed in a completely fantastical world, to match the euphoria the song brings.[imgtoken data:3]"Working with Perrie was a total dream. She’s incredibly collaborative, full of energy, and has that rare star quality where the second she starts performing, she’s magnetic. I don’t think I’ve ever seen a higher hit rate of amazing takes."If the video feels joyful to watch, it’s because we had so much fun making it. Honestly, one of my favourite projects I’ve worked on to date."&nbsp;

Lucy Cooper

Aaron Franco

Mark Lane

Charlie Knight

Darren Sinnott

Ali Copland

Marcus Albertson

Ali Baines

James Huthwaite

Geri Docherty

The Quarry

Perrie 'If He Wanted To He Would' by Dora Paphides

Perrie - If He Wanted To He Would (Official Video)

A chess match transforms into&nbsp;a big musical production number in Iris Luz's scintillating collaboration with PinkPantheress - featuring&nbsp;US singer&nbsp;Destin Conrad as the eponymous Romeo.We start in reality as Pink enters a chess tournament&nbsp;that's taking place in a South London community hall - and where Pink proceeds to demolish the opposition, The Queen's Gambit-fashion. Destin is playing on another table, and they can't help give each other the eye, indulging in some flirting while winning their separate matches.And then, when they come together to play each other,&nbsp;it turns into a full-on musical fantasy: the chessboard is the dancefloor, the chess pieces becoming dancers, and this musical - with Pink performing&nbsp;next to a giant Queen chesspiece - plays out as Pink and Destin start the game in the real world... where Pink quickly takes control.Building on the excellent previous videos of her current Fancy That album campaign, Pink's signature style, and love of strong patterns - black and white checks and tartan - is slickly woven into the lighthearted narrative. Every element is delivered to a high level, and works to frame the singer and her message.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;It's a great addition to the PinkPantheress canon and an exciting step forward for Iris Luz, following her recent videos for the likes of Victoria&nbsp;and George Riley.&nbsp;[imgtoken data:1][imgtoken data:2]

Elena Isolini

Jack O'Mullane

Renäta Fabri

Milena Agbaba

Iris Luz

Ayomide Alli

Imran Malik

Tuomas Nurmi

Scarlet Green

Rose Lucas

Gary Kent

Bertie Wood

Milo Brown

James Burns

Simon Donnellon

Andi Chu

Warner Bros. Records Inc.

Oscar Stewart

Will Cousins

PinkPantheress 'Romeo' by Iris Luz

Pinkpantheress-'Romeo'-by-Iris-Luz

<h3>The Spindle director’s debut music video pays tribute to&nbsp;a modern TV classic. She explains how it happened, and why it needed to be as faithful to the original&nbsp;as possible. On-set photography by Amaka Lin.&nbsp;</h3>Bonnie MacRae was stepping into uncharted territory with her video for singer-songwriter Chloe Slater's song Harriet. Firstly, she had not made a pop promo before, for anyone. And secondly, this was going to be a homage - and not just referencing that work. She was aiming for, in many ways, a complete copy. And the pressure was on, as the original was something that many people know - and seriously love.The brief was to recreate scenes from <a href="https://www.bbc.co.uk/iplayer/episodes/p089g8rs/normal-people" target="_blank">Normal People</a>, the TV adaptation of Sally Rooney's acclaimed novel, ostensibly to highlight the often-noted resemblance between Chloe Slater and Daisy Edgar-Jones, the female lead actor in the show. But such is the emotional pull that the drama has upon&nbsp;MacRae (and many others) she became determined to go 'all in' -&nbsp;to an extent that the likeness between the show and the Harriet video is considerable. At times even uncanny.&nbsp;&nbsp;[vidtoken data:0]This is a departure for MacRae, an up-and-coming director from Dundee who has been building her reputation with work in its own distinctive style.&nbsp;She signed with London-based production company Spindle earlier this year, having made her mark with two short films that tackle important topics with an appealing irreverence:&nbsp;Mind Yersel', about suicide, has been used by the NHS for training healthcare professionals;&nbsp;<a href="https://www.spindle.co/work/endometriosis-uk/" target="_blank">All Up There</a>,&nbsp;about the condition of endometriosis,&nbsp;won a YDA Award and has been recently developed into an awareness campaign for the charity Endometriosis UK.Her latest short, <a href="https://www.spindle.co/work/happy-birthday-daniel/" target="_blank">Happy Birthday Daniel</a>, co-produced by&nbsp;Spindle, is a tongue-in-cheek&nbsp;character comedy (it stars&nbsp;Lizzie Davidson of BBC's Such Brave Girls and Rhea Norwood of Netflix's Heartstopper) that's just starting its festival run.&nbsp;And a TV project also in development is further evidence of MacRae's status as an exciting breakthrough talent.But when Promonews spoke to her, the Harriet video had just been released - and not surprisingly, our conversation was all about that.&nbsp;<blockquote>I wanted it to be exact to the point that you’d have to do a&nbsp;double-take.</blockquote>PROMONEWS: Bonnie, how did this&nbsp;project start for you? &nbsp;BONNIE MACRAE: I was initially asked to pitch on the video about a month before the shoot, I’d known of Chloe’s music and had seen her come up across my Instagram feed a few times but this was both our first instance of working together – and my first ever music video.When did the idea emerge to re-create scenes from Normal People?BM: That was brought to the table as part of the initial brief. In the comments section of nearly every social media post of Chloe’s, you’ll find people comparing her to Daisy Edgar Jones. I think for Chloe, it almost started out as a bit of a joke, and then combined with her love for Normal People, it felt like a really creative and original way to address the resemblance.[imgtoken data:1]Above: Chloe Slater on set of the Harriet video<blockquote>I think for Chloe, it almost started out as a bit of a joke.&nbsp;</blockquote>It then became a collaboration between us both, figuring out what scenes to draw inspiration from, how we would land that balance between humour and something a little bit deeper, relating it back to the lyrics of the song, getting to the root of why Chloe penned it in the first place and channelling that into the visuals.&nbsp;[But] It’s one thing saying you can recreate something and [another thing]&nbsp;actually being able to do it; that was a little mini-stress I realised after winning the job. I decided right from that point that if we were going to make this, it should be as precise as possible, otherwise it could fall a bit flat. And then that’s when we started to work really specifically.[imgtoken data:2]Above: Bonnie MacRea (right) with Chloe Slater on set&nbsp;Why did you pick those&nbsp;particular scenes from the show?BM: With the very first brief, Chloe sent across a few scenes that she really wanted to include, which just so happened to be the same ones that stuck out so vividly in my mind. There’s obviously so many to choose from, but I wanted to make sure we were recreating the ones that felt the most visually iconic.For example, I knew I wanted to recreate Connell’s bedroom with that recognisable wallpaper and duvet as on first glance, I think even those who aren’t huge fans of the show will see it and can put two and two together and identify it as Normal People. The same goes for those grey school uniforms, and that long French braid in Marianne’s hair – instantly recognisable snippets of the show that also felt in alignment with the song and its lyrics.[imgtoken data:3]Above: Chloe Slater with co-star Gus Steele on setHave you attempted anything like this before?BM: Never. This was a completely different production experience to anything I’ve worked on before. The original show is shot in a way that doesn’t creatively come naturally to me. It’s framed in a way that I perhaps wouldn’t have shot it, so it was fascinating to have to almost mould my own work around someone else's in that way.Usually when you take inspiration from something you don’t take it quite so literally. It was a new experience having to brief our HODs to so rigorously match every single detail as closely as possible. It was also daunting because it is my first music video, and this is a world I really want to be in, so I put a bit of pressure on myself to do it well. We worked hard in pre-production to find specific props and wardrobe items and similar locations, but you never really know until the camera rolls and you look at the monitor for the first time, if it’s actually going to pay off.&nbsp;I’m so glad to say that I think it did![imgtoken data:4]<blockquote>It was fascinating to have to almost mould my own work around someone else's.</blockquote>What were the biggest challenges in making it happen?BM: The main challenge was that we had a small budget and one day to shoot four of the show’s most iconic scenes all over South London. But that to me was also the best part. It felt like a real achievement by the end of the day to see what we had managed to do and I also think being restricted both time and money-wise naturally makes you all the more creative.One of the other main challenges was recreating our locations, specifically our interior sets – Connell’s bedroom and the pool setup for instance. We shot in this massive house that 1. Had a pool that really felt similar to that of the original show but 2. Didn’t have any rooms that were boxy and contained like we needed.[imgtoken data:5]It meant we had to build a tiny bedroom within a bedroom and our amazing production designer&nbsp;Lucie Brooks Butler&nbsp;and her team really smashed it in such a small space of time. Lucie came up with the smart idea of bringing in a tall wardrobe and wrapping half of it in our wallpaper to try and emulate that original bedroom composition.[imgtoken data:6][imgtoken data:7]I also really wanted to be as specific as possible. I wanted it to be exact to the point that you’d have to double-take to figure out if you were watching the music video or the real thing. Specificity was really the main working practice across all departments – we set out to find the exact same bedroom wallpaper, the same school tie, the exact replica of Connell’s chain, the same GAA ticket stubs pasted to his bedroom walls.What aspects of the re-creation are you happiest with?BM: I’m really delighted with the supermarket scene. We shot in this small Polish shop on Streatham High Street that ended up feeling very similar to the show, and Chloe is actually wearing the exact dress Daisy wears which is a nice easter egg too.[imgtoken data:8][imgtoken data:9]Our brilliant 1st AD, Dom Asbridge, would be holding up my iPad next to the monitor so that we could watch the show play out alongside what we were shooting. I got super specific with both Chloe and Gus in even the smallest of movements – if Marianne takes her earphones out and that lasts three seconds, let’s make sure we take the same amount of time ourselves. If she raises her right arm at a certain angle to grab a jar off the shelf, let’s try and have Chloe reach that same position.I’m also really proud of how we recreated the bedroom scene. It was honestly very weird putting both Chloe and Gus into position and seeing the show come to life in front of us all. We even got particular in the tiny art details around the room that no one will probably ever notice or think twice about. For example, we managed to source the exact same vintage plate that sits on the side of Connell’s desk – you can actually barely see it in frame in the show or the music video but it’s very satisfying for me knowing that little details like that made it in there.[imgtoken data:10]<blockquote>Being restricted both time and money-wise naturally makes you all the more creative.</blockquote>I also really love our field scenes when they’re in their school uniforms – to me that set up is Normal People and to watch that play back in the edit for the first time and see how close we got was really fun. Who knew a little field in Croydon could masquerade itself as rural Sligo?What’s the primary purpose of doing this – humour, or something deeper? Or is it just to highlight Chloe’s rather uncanny likeness to Daisy?BM:&nbsp;I think it’s a bit of both. Addressing the uncanny likeness I think demands a bit of humour. This is a homage to the show and while we worked really hard to get that replication right, we also aren’t trying to take it too seriously.[imgtoken data:11][imgtoken data:12]I think it’s such a smart idea from Chloe in using the show as a vessel to form this world around ‘Harriet’. So many (including myself) are also still so obsessed with&nbsp;Normal People, even though it came out a good few years ago now, to me it still feels so relevant.Why do you think Normal People resonates so much?The show came out as such a crazy time -&nbsp;at the very start of lockdown when everything was a bit scary and unknown. I binged it almost all in one go - 1. Because it felt nice to have something to escape into and distract myself from and&nbsp;2. The show offered up this totally immersive world that I’d never experienced before.[imgtoken data:13]Above: cast and crew at the end of the Harriet shootI also think that to take an amazing novel like&nbsp;Normal People&nbsp;and to then adapt it so successfully is maybe quite rare. The way the show is shot literally feels like Sally Rooney’s writing. It’s really visceral and I think that makes it so relatable and true to real life in a way most TV fails to do.If you had the chance to do another Chloe/Daisy comparison video, which of Daisy’s other TV shows or movies would you pick?&nbsp;BM: We actually joked about this on set. Maybe my new thing is directing lookalike music videos… I haven’t actually seen it but I know Daisy was in Twisters.&nbsp;So I’d like to see how we’d fancy our chances of replicating a devastating tornado on a similar budget in a day in the same field in Croydon.&nbsp;• Bonnie MacRae is based at Spindle and represented for music videos by Claire Stubbs at Mouthpiece. See her work at Spindle <a href="https://www.spindle.co/directors/bonnie-macrae/" target="_blank">here</a>

Bonnie MacRae

Spindle

BTS: Bonnie MacRae on Chloe Slater's Harriet | 'Normal People still feels so relevant.'

Chloe Slater - Harriet (Official Video)

Daniel Sachon's tumultuous video for Demi Lovato unveils a reimagined Demi, free from the scars of her past and untouched by the chaos around her.The promo for Fast counterintuitively has the singer as the calm centre at the heart of a storm, walking through a nighttime city scene engulfed in hysteria. With a large cast of extras, there is craziness at every turn, orchestrated by Sachon with an admirable eye for detail within the overall concept.&nbsp;Through this tightly-orchestrated mayhem - shot on a studio backlot -&nbsp;Demi emerges in complete control, setting the tone for her new chapter.&nbsp;Her final glance at the camera is the only acknowledgment of the outside world, intentional and poised.[imgtoken data:1]

Marla Weinhoff

Ckc Projects

Lauren Johnson

Maggie Kimball

Daniel Sachon

Vladen Ponomar

Good World Creative

Steven Gottlieb

Isaac Marziali

Jasper Wolf

Brandon Creed

Christopher Pepe

Jason Quan

Kenny Taylor

Brad Powers

Eric Ugland

Dumaine Babcock

Charissa Kroeger

Emilie Aubry

Church Edit

Myles Bevan

Rick Lancaster

Max Colt

Demi Lovato 'Fast' by Daniel Sachon

Demi Lovato - Fast (Official Music Video)

Iris Luz captures the thrills and contradictions of hyper consumption and modern femininity, in her whirlwind promo for singer George Riley.In the video for More, Riley is hounded by paparazzi while running through West London laden with shopping bags. So far, so Y2K tabloid.It breaks down into joyful chaos as Riley throws her bags up in the air and dances in a fountain, a moment of crazy, guerilla-shot&nbsp;abandon to register with the drum n bass track.Blending naturalistic scenes of the city with larger than life fantasy, it's a vibrant, breezy visual, capturing the frantic pace of day to day life with a moment of pure ecstasy - and more than a hint of irony. Much more.&nbsp;

Claudia Celeste

Toby Leary

Shy Mason

Dasha Taivas

Liv Ay

Daniela Rotaru

Thea Dagnaud

Time Based Arts

George Riley 'More' by Iris Luz

George-Riley-'More'-by-Iris-Luz

Apparently Chloe Slater's fans have been saying it for years. So now the singer-songwriter has decided to fully embrace their observation that she has a striking resemblance to actress Daisy Edgar-Jones in her new video by Bonnie MacRae. And the result is almost spooky - you may believe you are watching <a href="https://www.bbc.co.uk/iplayer/episodes/p089g8rs/normal-people" target="_blank">Normal People</a> all over again.In the video for Harriet, MacRea does not so much reference Edgar-Jones's breakthrough role as to recreate some of the acclaimed TV drama's most memorable scenes&nbsp;with eerie precision. Only this time, 'Marianne' is usually singing to 'Connell' - played by Gus Steele, who also looks like Paul Mescal, but not quite as much as Chloe looks like Daisy.The beauty of MacRae and Slater's wholly invested approach is&nbsp;that, counter-intuitively, even if you're not that familiar with Normal People, you can pretty much enjoy this on its own account. But for the many avid fans of the show, it's a proper&nbsp;treat - albeit one that may seem almost uncanny.

Lucie Brooks Butler

Chloe Slater 'Harriet' by Bonnie MacRae