Production Company

Park Pictures

Jake Erland directs an intense promo for&nbsp;Beabadoobee, taking her message straight into a constantly moving camera.&nbsp;The video for Sun Has Set is presented in a frantic POV perspective,&nbsp;the camera being the person in a relentless conversation with Bea. In fact, she is so forceful, that the POV is always trying to take evasive action, even leaping from a motel balcony, taking refuge&nbsp;in a car (while she smashes the windscreen) and&nbsp;running away to open countryside when she storms out of a police car&nbsp;for another confrontation.It's a cool way to visualise&nbsp;the rollercoaster emotions of a relationship through action-packed, horror-tinged vignettes. Bea is great in this, radiating charisma as she goes on the warpath - and camera operator Austin Phillips does a sterling job, with Erland also acting as DoP -&nbsp;in a concept that&nbsp;pushes the right buttons:&nbsp;inspired, gripping and nostalgic.[imgtoken data:1]&nbsp;

United Kingdom

Furmaan Ahmed

Angelica Wolanska

Kirsty Oldfield

Lily Delphine

Bella Purse

Jake Erland

Sam Murray

Marco Di Guillo

Shelley Jones

Embla Conneely

Laura Carrion Del Pozo

Dan Huntley

Jonny Lewis

Anna Patterson

Isabella Furness

Emilie Bromley

Natasha Sultana

Jo Lewandowska

Shift

Tim Smith

Anchous

Dirty Hit

Tara Leonard

Austin Phillips

Arsenii Pronkin

Rascal Post

Alternative Pop

Indie

Beabadoobee 'Sun Has Set' by Jake Erland

Beabadoobee - Sun Has Set (Official Music Video)

Iggy London directs a suitably glamourous, Soul Train-influenced&nbsp;visual&nbsp;for Sekou's latest retro-soul&nbsp;banger.&nbsp;The vibrant video for Does She Know recreates a Seventies variety show environment, complete with shimmery styling, a glittering discoball and an impassioned&nbsp;live audience. Ideal for a song that evokes that period through its lyrics, production and the singer's performance.And Sekou is effortlessly cool and charismatic, throwing shapes and thriving in the spotlight, in his latest video with Iggy London - a collab that began auspiciously last year with the <a href="https://www.promonews.tv/videos/2025/09/01/sekou-catching-bodies-iggy-london/92352">video for Catching Bodies</a>.Most crucially, its a great showcase for Sekou's surprisingly deep yet deeply soulful voice.&nbsp;So it's further evidence that he is a leading contender among rising British artists to go stellar in the next year or so.[imgtoken data:1]

Gabriel Chao Healy

Asantewa Aboah

Scene

Polly Kemp

Kerri Aungle

Ellie Rimmer

Iggy London

Dan Curwin

Lee Parfitt

Kai Blamey Nguyen

Violette Manon

Oli Hill

Jay Jaramillo Gomez

Steph Kennedy

Ellie Spigariol

Shy Mason

Alice Lawson

Ben Elkaim

Trim Editing

Simon Bourne

Company 3

Island Records

Soul

Sekou 'Does She Know' by Iggy London 

Sekou - Does She Know

<h3>The Park Pictures director travelled to a remote region of Lanzarote with singer-songwriter/cellist Kelsey Lu and actor Garance Marillier to make videos,&nbsp;visualisers and a jawdropping short film for Lu's new album. We spoke to her about how the extraordinary project&nbsp;came together. Main photo: Rachel Jones-Williams</h3>Savanah Leaf could have picked a more straightforward way to return to the world of making visuals for music. Instead,&nbsp;she chose a passion project - one that is itself a vehicle for passion, in its many forms.The Anglo-American director who won a BAFTA for Outstanding Debut for her&nbsp;first feature <a href="https://letterboxd.com/film/earth-mama/" target="_blank">Earth Mama</a> has now made a remarkable suite of visuals for the new album by her good friend, the LA-based singer/composer/cellist Kelsey McJunkins&nbsp;-&nbsp;better known as Kelsey Lu. That has involved videos, visualisers and finally, the fully realised short film for the album So Help Me God that offers an intense&nbsp;exploration of a relationship in the starkest of settings.Filmed in a deserted part of Lanzarote, we witness Lu and French actor Garance Marillier playing lovers at the edge of destruction at the edge of the world; a volcanic relationship played out on the volcanic slopes of this breathtaking island.&nbsp;The first release from the project, the video for <a href="https://www.promonews.tv/videos/2026/03/20/kelsey-lu-running-pain-savanah-leaf/94459" target="_blank">Running To Pain</a>, sets the scene of an emotional dance taking place between the two against extraordinary&nbsp;landscapes, playing out in long takes - the otherworldliness underlined by the incongruous, high fashion clothing worn by the protagonists.&nbsp;Followed by one-take visuals for the songs <a href="https://www.promonews.tv/videos/2026/04/22/kelsey-lu-portrait-lady-fire-savanah-leaf/94707" target="_blank">Portrait Of A Lady On Fire</a> and <a href="https://www.youtube.com/watch?v=6-aB7XGSq9Y" target="_blank">Cutting Off The Head Of A Ghost</a> - which focus upon intimacy, sensuality and Kelsey Lu's emotional turmoil - and further visualisers, all these different fragments have now been brought together into creating a complete picture. It's&nbsp;the full nearly 17-minute short film to accompany So Help Me God.&nbsp;[vidtoken data:0]<blockquote>I wanted to show the ebbs and flows of the album through the metaphor of a toxic relationship.</blockquote>Containing six songs from the album, it's the full story of the destruction of a relationship and in some ways it's darker and uncompromising than the preceding visuals. There is more emphasis when passion becomes twisted, and when pain is clear to see.As in Earth Mama - for which Kelsey Lu composed the music - Savanah Leaf is focussing&nbsp;upon an individual who is in the eye of a storm, and who needs to find a way out of suffering. But the So Help Me God film&nbsp;has its own specific atmosphere and haunting quality. So we asked Savanah a few questions about how she made this memorable film for her friend's new album.&nbsp;&nbsp;&nbsp;PROMONEWS: Kelsey Lu composed music for Earth Mama - is that how you met?SAVANAH LEAF: Yes, Lu and I met when I was looking for a composer for the film. We met in a little restaurant in Brooklyn, and instantly we became close. We were giggling the whole time, sharing life stories, it just felt like an instant connection as soon as we sat down to eat.&nbsp;What was the starting point for the making of the So Help Me God film?&nbsp;SL: We had been discussing the album for a while, just as friends. I was listening to the music and giving thoughts, but also just listening and celebrating how beautiful it was.I really felt like it was so cinematic from the first time I sat on her bed and listened to <a href="https://www.youtube.com/watch?v=ec3wtCzZGNw" target="_blank">Reaper</a>. Then it took maybe around seven months from her asking me to do the project, to us completing it. It went through many different ideas and forms, until the final project was realized.&nbsp;[imgtoken data:1]Above:&nbsp;High fashion in ashes - on the So Help Me God shoot.&nbsp;Photo credit: Alima LeeWhat led you to this story of the characters’ tempestuous and disintegrating relationship and your approach? What were the primary emotions that you wanted to achieve?SL: From the very beginning, Lu and I were discussing how the album felt like a shedding of a skin - a rebirth. It felt very raw, and unleashed these visceral emotions in so many different ways.I wanted to show the ebbs and flows of the album through the metaphor of a toxic relationship. One [that]&nbsp;could be broken down into separate videos with each song, but then collectively could come together as a singular film - almost like a small musical with tasters of each of the songs on the album. We used the reference of the film <a href="https://letterboxd.com/film/the-inner-scar/" target="_blank">The Inner Scar</a>&nbsp;by Phillipe Garrel as an interesting example for this.<blockquote>[For the long takes] I prepared as much as possible... and then trusted Lu and Garance to show up and perform.&nbsp;</blockquote>When did Garance Marillier get involved in the project?SL: Once the film treatment had been written and we had loose dates for the shoot, we started thinking about casting. Garance came up because we were discussing actors who are great with movement and have a physicality to their performances that are grounded and yet wild and unhinged.Lu and I both loved the film <a href="https://letterboxd.com/film/raw-2016/" target="_blank">Raw</a>&nbsp;and were extremely excited by the potential of working with Garance. So when she said she wanted to do it, it felt like a perfect collaboration.[imgtoken data:2]Above: Savanah Leaf (left), Garance Marillier (centre) and Kelsey Lu.The amazing location in Lanzarote is crucial to the feel of the film. Was the setting part of the original idea or did it come later?SL: We had budget restrictions, so we costed out a few different places around the world. Ultimately we landed on Lanzarote because of how beautiful the landscape is, but also how violent it feels as well. I mean it's quite literally bubbling beneath our feet. It created this physical obstacle for them to perform within, and became almost like a character in the story.&nbsp;Another distinctive aspect is the remarkable wardrobe, adding greatly to the visual aesthetic. Are these original pieces created for the film? Who was responsible for those, and the styling?SL: Lu and I had spoken a lot about creating an ugly, dark fantasy in the clothing of the film. Edda Gudmundsdottir did the styling with Lu, and together they created a language in the clothing that also incorporated the physicality of the land itself.We had lots of obstacles in just getting the clothing to this tiny Lanzarote island, and so Edda&nbsp;had to find a lot of creative solutions. She made a lot of the costumes [herself] - from the iconic heels with mud all over them to the deteriorating suit at the end of the film. Some of my favourite pieces were what she made while in Lanzarote.[imgtoken data:3]Above: Kelsey Lu's beach look.&nbsp;Photo credit: Alima Lee<blockquote>Lanzarote... became almost like a character in the story.</blockquote>There are some bravura sequences - lengthy takes in spectacular landscapes, but not overly choreographed. How did you approach these?SL: We had big ideas for long tracking shots, and durational dolly shots. This is something I have been doing since my film Earth Mama and I wanted to expand on these ideas in new ways.We approached them by doing a lot of prep, blocking with my cinematographer, and then we often only had the time for a couple takes. So in large part I would try to prepare as much as possible, give as best direction as I could, and then trust our actors (Lu and Garance) to show up and perform. And they really did!When did you shoot it, and how long did you have to shoot it? Who were your important collaborators on the shoot?SL: We shot last year in November for four days. In those four days we made 2 music videos, 8 visualizers and a short film. It was insane. I'm still confused how we made that happen. But I do have to give a big thanks to my cinematographer Ryan Marie Helfant, my producers Jill Ferraro, Mia Jarrett, and Park Pictures’ Shelley Jones and Fran Thompson.[imgtoken data:4]Above: Savanah Leaf (left) and Kelsey Lu.&nbsp;Photo:&nbsp;Garance Marillier<blockquote>It took around seven months from her asking me to do the project to us completing it.​</blockquote>On the back end we had so many incredible people that worked in edit, VFX and colour grade (Thomas Grove Carter, Ben Elkaim, Jason Wallis, and many more). Everyone truly gave this project so much time and energy, and I feel very lucky that they trusted me to guide them along the journey. &nbsp;What were the big challenges of the shoot? And as you were also drawing several music videos from the shoot as well as the short film, what challenges did that present?SL: So many. I couldn’t pin-point one thing.&nbsp;I mean we were on a tiny island, with limited resources, and it felt like everything every day was falling apart. From our locations, [to] getting clothing on the island, to just getting food for dinner because everywhere was closed...And yet - we did it! We always found a way. That's truly a huge thanks to the team around us, because I couldn’t have done it without them.• Kelsey Lu's new album So Help Me God is out now; Savanah Leaf is represented for music videos and commercials at Park Pictures.

Savanah Leaf

FOUR DAYS ON A VOLCANO Savanah Leaf on directing the film for Kelsey Lu's 'So Help Me God'

Kelsey Lu - So Help Me God (Short Film) 

Craig Parkinson -&nbsp;star of Line Of Duty and much more -&nbsp;becomes an observer of human behaviour, looking in at the residents of a tower block&nbsp;from the window cleaning gantry outside, in Jake Erland's stunning promo for Dave Grohl's returning rock behemoths Foo Fighters.In the video for Window - Foo Fighters' first release in three years and the first from the new album My Favorite Toy&nbsp;- Parkinson is a window cleaner, working his way across the higher floors of a tower block, impartially witnessing the worlds of the inhabitants within, who reflect the many ways in which we live today.[imgtoken data:1]From the bodybuilder's workout&nbsp;to the&nbsp;content-creating influencer&nbsp;to the grieving mourners, romantic dinner daters and more -&nbsp;Parkinson sees them all from his unique vantage point. And this powerful concept works because it is clearly not faked. He really is on that gantry, way above the ground; and it's&nbsp;captured on camera both outside and inside the tower block. It's almost enough to give you vertigo just watching it.Filmed in Bulgaria&nbsp;over two days, both the actor and crew - particularly Jake Erland and his DoP Jack Exton - went to the great lengths (or heights) to make this work, testing their own personal courage, however safe and secure they were in reality.&nbsp;&nbsp;[imgtoken data:2]<blockquote>The whole film was only only possible with Craig's endless patience and professionalism.&nbsp;</blockquote>As Jake explains below, achieving this&nbsp;idea that Dave Grohl conceived, meant coming to terms with a fear of heights that he did not know he had.PROMONEWS: It’s a great concept. What were the big challenges in shooting it?&nbsp;JAKE ERLAND: Haha yeah, does what it says on the tin - c/o of Mr Dave Grohl himself. [The] whole thing was a bit of a nightmare to make, 9 sets in empty floors 12 and 14. Poor old Craig had to travel down from floor 24 [in the gantry]. Lots of teething problems [on] Day 1, but we were pretty good at getting him in and out by the end.[imgtoken data:3]&nbsp;In particular, can you reveal how you shot the exteriors of Craig on the gantry?JE: 40 metre cherry picker - I didn’t think I was scared of heights and even going up on that I was sweaty-palmed hahaha. Shout out to Mr Jack Exton, who it turns out is not afraid of heights at all.&nbsp;And did it require Craig to have an extremely good head for heights?JE: I mean, I can’t believe he did it. I am a massive Line Of Duty and Misfits fan. TBH I think we all underestimated how fucking high it would be, lol. The whole film was only only possible with Craig's endless patience and professionalism.&nbsp;

United States

Des Hamilton

Chris Murdoch

Jack Exton

Rock

Foo Fighters 'Window' by Jake Erland

Foo-Fighters-'Window'-by-Jake-Erland

The second visual from the Savanah Leaf-directed longform project accompanying the new Kelsey Lu album So Help Me God. It's a single-take performance by Kelsey that appears to take place moments after a tempestuous&nbsp; scene&nbsp;with her lover, played by&nbsp;Garance Marillier,&nbsp;from the <a href="https://www.promonews.tv/videos/2026/03/20/kelsey-lu-running-pain-savanah-leaf/94459" target="_blank">video for Running To Pain</a>.The set up is like a painting, the camera is locked off, and Kelsey barely moves either while performing Portrait Of A Lady On Fire. But as befitting the track that shares its name with <a href="https://letterboxd.com/film/portrait-of-a-lady-on-fire/" target="_blank">the acclaimed romantic drama</a>, the theme of desire and longing comes through strongly. It feels&nbsp;like a pause before more fireworks.&nbsp;

Kelsey Lu

Jill Ferraro

Fran Thompson

Paradise Productions

Garance Marillier

Ryan Marie Helfant

Jason Wallis

Electric Theatre Collective

Rachel Jones-Williams

Mia Jarrett

AMPM

Luca Dobry

Mehdi Lamsani

Edda Gudmundsdottir

Malcolm Marquez

Bea Sweet

Valentina Luppino

Kelsey Lu 'Portrait Of A Lady On Fire' by Savanah Leaf

Kelsey Lu - Portrait Of A Lady On Fire (Official Music Video)

The first chapter of the new collaboration between Savanah Leaf and Kelsey Lu, ahead of the release of the artist's second album&nbsp;So Help Me God, is an introduction to a sensual and explosive relationship of two women, played by Lu and French actor Garance Marillier (Titane, Raw), within a stark, alien landscape.Filmed in Lanzarote, the video for Running To Pain touches upon the highs and lows of the pair’s tempestuous relationship, often in long takes on the island’s volcanic slopes, intercut with moments of performance from Lu.It’s beautifully done, with lovely cinematography by Ryan Marie Helfant, wardrobe styling by Edda Gudmundsdottir&nbsp;and magnetic&nbsp;performances by Lu and Marillier, who have tremendous on-screen chemistry. In her direction, Savanah Leaf shows the skill and sensitivity that made her feature debut <a href="https://letterboxd.com/film/earth-mama/" target="_blank">Earth Mama</a> so special - and a BAFTA winner.Lu, a composer as much as a singer-songwriter who has created original scores for film and TV, also&nbsp;wrote the score for Earth Mama. This&nbsp;is an indication that another hugely impressive collaboration between the artist and director is under way.&nbsp;[imgtoken data:1][imgtoken data:2]

Wave Studios

Kelsey Lu 'Running To Pain' by Savanah Leaf

Kelsey Lu - Running To Pain (Official Music Video)

Jake Erland joins forces with co-director ABOVEGROUND for a richly cinematic new music video for beabadoobee's team-up with American alt-rock band The Marías.The video for All I Did Was Dream Of You showcases Bea moving through a series of dreamlike vignettes in a variety of wintry&nbsp;settings, culminating in&nbsp;a spectacular moment&nbsp;of her car flipping and exploding into flames.&nbsp;[imgtoken data:1]Shot in sub-zero weather conditions in Vilnius, Lithuania, the story unfolds&nbsp;across a frozen lake off a decommissioned nuclear power plant, snow-laden forests, a tiny bar on the outskirts of town, and a local produce market. The pivotal scene, when the car flips over and explodes, was captured entirely in-camera.This is the sixth music video collaboration between&nbsp;Bea and Jake Erland, following the videos created for the 2024 album This Is How Tomorrow Moves. It also represents a radical departure in cinematic ambition in their creative partnership. ABOVEGROUND, who has previously directed several videos in Lithuania, becomes&nbsp;a valuable addition to the team with this one.An exciting new beabadoobee campaign is under way with a bang.

ABOVEGROUND

Nojus Drasutis

Emilija Einorytė

Augustė Skirutytė

Shift Post

Alt Rock

beabadoobee ft The Marías ‘All I Did Was Dream Of You’ by Jake Erland & ABOVEGROUND

beabadoobee - All I Did Was Dream Of You (Official Video) ft. The Marías

Andrea Arnold makes a very rare appearance as a music video director - possibly her debut -&nbsp;for old friends Sleaford Mods team-up with artist and performer Sue Tompkins, in the familiar territory of the Dartford estate where she shot her seminal Oscar-winning short film&nbsp;Wasp.Shot by long-term collaborator Robbie Ryan - the DoP on her acclaimed features Red Road, Fish Tank, Wuthering Heights, American Honey and Bird, the&nbsp;film for No Touch, shot on a mix of 16mm and 35mm, features the duo performing the track alongside locals and dancers in the falling leaves of British November.The video also features Sue Tompkins, visual artist and&nbsp;former lead singer of Glasgow rock band Life Without&nbsp;Buildings, who becomes the latest female vocal foil to Sleaford's frontman Jason Williamson, following the likes of Billy Nomates, Amy Taylor from Amyl &amp; The Sniffers&nbsp;and,&nbsp;most recently,&nbsp;Gwendoline Christie.[imgtoken data:1]“I had such a lovely day making the video with the Sleafords and Sue Tompkins," says Arnold, who featured both the Sleafords' track Jolly&nbsp;Fucker and a cameo by Jason Williamson in&nbsp;her latest film Bird - also shot in Dartford."The shoot reminded me of my days out to Margate with my family. It was bonkers, chaotic and funny and we got chips on the way home. I had such a good time working with them all. Although we all do different things we were all somehow connected. Like our work and lives all intermingled somehow. Lovely.”Jason Williamson has commented that the song "is colourful and full of heavy&nbsp;realism, a kitchen sink drama," and that it&nbsp;“couldn’t have been captured by anyone else. Andrea Arnold fits perfectly with its soft nightmare theme."He adds: "It is a song about isolation, loneliness and crushing self-harm that we all try to navigate, I suppose, under the rigid structures of conformity. Andrea took us back to her old neighbourhood, which also felt very familiar to me. The video, like her films, doesn’t end in total black out, but it trails hope too.”

Andrea Arnold

Robbie Ryan

Florence Sweeney

Arielle Cooper-Lethem

Sara Bowden

People File

Chiara Armentano

Goldcrest

Laura Pavone

Kodak

Sleaford Mods ft Sue Tompkins 'No Touch' by Andrea Arnold

Sleaford Mods Ft. Sue Tompkins - No Touch (Official Video)

<h3>It's been one of the success stories of the year. The Jake Erland-directed videos for Olivia Dean have helped propel the singer to new heights. Now we can find out how VFX work at post house Anchous assisted the in-camera ingenuity in three videos, and contributed to their impact - courtesy of Before &amp; After comparison reels.&nbsp;</h3>London-based Anchous worked with Jake Erland on three of his videos for Olivia Dean this year - Lady Lady, the smash hit Man I Need and So Easy (To Fall In Love) - and the idea in each one was to make the ambitious 'one-shot'-style structure as&nbsp;seamless and natural as possible.So that Olivia appeared to wander effortlessly through choreographed scenes of backstage activity or rehearsals in a theatrical&nbsp;performance, or a Hollywood musical, the VFX work had to be invisible."Overall, the biggest challenge was maintaining the organic, non-artificial feeling of a true one-shot music video - keeping the illusion that everything was captured fully in-camera," says Arsenii Pronkin, Anchous founder, EP and senior editor. He also reveals that the&nbsp;essential method was to work with two different takes of the same tracking shot to craft the 'perfect' combination of both.&nbsp;"Matching motion between the two takes was tricky, and in the moments where that wasn’t possible, we had to stitch together transitions from five or six different shots while still making the final piece feel completely seamless. But thankfully Jake and Rowan [Mackintosh King, the producer]&nbsp;did their best with the shots and pre-planning the transitions. So it was a very smooth process."<blockquote>Matching motion between two takes was tricky...&nbsp;where that wasn’t possible, we had to stitch together transitions from five or six different shots.</blockquote>In fact, you&nbsp;can find out how good the clean-up work has been in the three videos by viewing the Before &amp; After comparison reels here - accompanied by Arsenii Pronkin's words on the specific challenges posed by each video.Lady Lady[vidtoken data:0]"The toughest part was definitely the floor transition. We didn’t want to rely on a fade-in/fade-out, so we used multiple takes to capture as much of the different floor positions and reflections to make the transition feel natural."Man I Need[vidtoken data:1]"Here it was all about the masked transitions, which were quite complex. They weren’t the typical “hide it behind someone’s back” or “person passes in front of camera” type of tricks - these ones required much more precise planning and execution with the matching position."So Easy (To Fall In Love)[vidtoken data:2]"The challenge was the final shot, where we had to replace almost every lightning flare with a larger one. The actual replacement isn’t hard, but doing it across a continuous 40-second shot - tracking every light stomp and making sure all the flares stay consistent in size."Pronkin points out that a different skill set is required&nbsp;for using VFX to clean up live action shots, rather than creating 'visible' VFX."Some of the tools are the same," he says. "But you just need to be a lot more efficient with&nbsp;being able to make&nbsp;two or three options with the&nbsp;very slight touches of changes in the transition."No doubt that the cleanup is easier than full CG. But tracking a 40–50 second shot and then blending it into another 30-40 second shot is still no joke, ha ha."But Pronkin adds that Anchous have also worked with Jake Erland on another project which did require decidely more visible VFX work: the <a href="https://www.promonews.tv/videos/2025/04/03/joy-crookes-i-know-youd-kill-jake-erland/90585" target="_blank">Joy Crookes' video for I Know You'd Kill</a>."We had some&nbsp;very&nbsp;fun blood and gunshot VFX moments - that was super cool to work on."• More about Anchous <a href="https://www.anchous-editing.com/about" target="_blank">here</a>

VFX Breakdown: Arsenii Pronkin of Anchous on Olivia Dean's videos

Olivia Dean - Lady Lady

Olivia Dean - Man I Need

Olivia Dean - So Easy

Following in the footsteps of the UKMVA-nominated Nice To Each Other, Lady Lady and Man I Need, Jake Erland's new video for Olivia Dean recreates the style of a classic Hollywood musical - but this is the most sophisticated and perfectly realised of the bunch.As in previous videos, Olivia is the focal point in choreographed sequences in So Easy. It suits her perfectly. Only here, she moves into different scenes and there is a sense of a narrative - a picturebook version of everyday life, like in a Stanley Donen movie,&nbsp;in which Olivia has an important role: matchmaking other people's love lives.Erland and his returning team, including production designer Furmaan&nbsp;Ahmed and choreographer Meshach Henry, have been given a bigger canvas for this video - likely&nbsp;due to the success of their previous videos in helping Dean enjoy a chart-topping hit with her second album, and helped by shooting this on a stage in Sofia. They have certainly risen to the challenge to make something lovely.[imgtoken data:1]&nbsp;&nbsp;

Simone Beyene

Rowan Mackintosh King

Louis Danckwerts

Dimitar Petrov-Caisa

Maria Atanasova

Elena Radeva

Atanas Stoyanov

Vania Ivanova

Boby Belberov

Meshach Henry

Alex Predko

Capitol Records

Kim Jarrett

Olivia Dean 'So Easy' by Jake Erland

Olivia Dean - So Easy (To Fall In Love)

Olivia Dean joins ballerinas in rehearsal in the second video directed by Jake Erland for the London singer's new album.&nbsp;The video for Lady Lady is a gentle, considered visual, blending choreography and performance in an intimate, introspective way.&nbsp;With the track's themes of celebrating the universe and the collective strength of women, the concept features&nbsp;Royal Ballet principal dancer Francesca Hayward, and has an overarching message of passing down knowledge and celebrating both individuality and community.&nbsp;A beautiful concept that builds upon Erland and Dean's collective videography with a new aesthetic and vibe.&nbsp;

Rowan Macintosh King

Olivia Dean 'Lady Lady' by Jake Erland

Olivia-Dean-'Lady-Lady'-by-Jake-Erland

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

Harrison Newman

Peter Bishop

Alex Hudson

Toby Mckay

Kairo Jones

Remi Black

Manu Loca

Marie Reitner

Mouthpiece

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

Mesh Henry

Olivia Dean 'Man I Need' by Jake Erland

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

<h3>Director/DoP Jake Erland’s recent video for Olivia Dean elevates the singer's charming on-screen presence by referencing Hollywood musicals and classic fashion shoots. We asked Jake some questions about the project. On-set photography by Honor Evans.</h3>In the video for Nice To Each Other, Olivia Dean walks onto a rehearsal stage&nbsp;where stagehands move the two-dimensional flats that will create the scenery for a show. Her choreographed interaction with the scenery and stagehands enhances the sense of wistful romance in her performance.With production design by Furmaan Ahmed and choreographed by&nbsp;Meshach Henry, and shot in long takes by the director/DoP in the style of a Fifties musical, it is a terrific showcase for Olivia Dean's screen presence. And that's as delightfully mood-enhancing here as it has been in previous Erland-directed videos, including the UKMVA-nominated video for&nbsp;<a href="https://www.promonews.tv/videos/2024/08/08/olivia-dean-time-jake-erland/89266" target="_blank">Time</a>, and their next one for new single <a href="https://www.youtube.com/watch?v=JN_Vyg_wURY" target="_blank">Lady Lady</a>.[vidtoken data:0]​PROMONEWS: What inspired the idea for the video?&nbsp;JAKE ERLAND: I’ve been working across the whole album with Emily [Braham], Olivia’s manager and creative director. We have an amazing creative partnership and we sketched out the world based on Olivia’s idea of black and white sets.Then I was watching&nbsp;Wicked, and there’s this cutout picture book transition they do in the film. It made me think about 2D sets and perspective and that’s where this came from.[imgtoken data:1][imgtoken data:2]<blockquote>It turns out [that] having sets on wheels and amazing dancers makes reset and takes pretty easy!</blockquote>What were the biggest challenges during production?JE: This wasn’t too hard - turns out having sets on wheels and amazing dancers makes reset and takes pretty easy!&nbsp;Plus total trust in Olivia's performance and Furmann Ahmed (art) and Mesh Henry (choreo) to be so fab at what they do and make these ideas work - without them I’d be lost.To be honest I think maybe this was my favourite shoot in a while. I think a big part of that is trust the team and when you don’t know what’s gunna be possible, don’t plan too specifically what it’s gunna be. Sometimes things can just come together and it can be nice![imgtoken data:3][imgtoken data:4]What are you most pleased with about how it's turned out?JE: I think all of it. Usually it’s the work of mine that people like that I hate and obsess about. I can see the issues. But this one was perfect for me and I’m happy people loved it. Big shout out to Park [Pictures], Rowan Mackintosh King and Olli Hill on production and AD department.[imgtoken data:5][imgtoken data:6][imgtoken data:7]• Jake Erland is a director and cinematographer based at <a href="https://parkpictures.com/director/jake-erland" target="_blank">Park Pictures</a>

BTS: Jake Erland on Olivia Dean’s Nice To Each Other

Olivia-Dean-'Nice-To-Each-Other-'-by-Jake-Erland

Jake Erland reunites with Olivia Dean for the first track from her new album The Art of Loving, with a video that channels Hollywood musicals and classic fashion shoots and plays to the singer's great strength.In the video for Nice To Each Other, Olivia walks onto a rehearsal stage&nbsp;where stagehands move the two-dimensional flats that will create the scenery for a show. Her choreographed interaction with the scenery and stagehands enhances the sense of wistful romance in her performance.[imgtoken data:1]With production design by Furmaan Ahmed and choreographed by&nbsp;Meshach Henry, and shot in long takes by the director/DoP in the style of a Fifties musical, it is a terrific showcase for Olivia Dean's screen presence. And that's as delightfully mood-enhancing here as it has been in previous videos - including the UKMVA-nominated video for <a href="https://www.promonews.tv/videos/2024/08/08/olivia-dean-time-jake-erland/89266" target="_blank">Time, also directed by Erland</a>.[imgtoken data:2] &nbsp;

Semera Khan

Cerys Kenneally

Coco Marinese

Emily Engleman

Ellie Durbridge

Sophie Jane Anderson

Josh Higgins

Massimo Fillipi

Olivia Dean 'Nice To Each Other' by Jake Erland

Music video and film worlds collide in Jake Erland's latest collaboration with Joy Crookes.&nbsp;The video for I Know You'd Kill is a thrilling, no-holds-barred spectacle, boasting backlit fight scenes, gravity-defying flips - and Joy as we've never seen her before.&nbsp;Battling an unidentified assailant, she holds her own whilst tearing up her apartment-turned-battle zone, captured in a combination of brilliant overhead shots and frantic closeups.And, as well as plenty of action-packed set-pieces, it's another video by Erland showcasing Joy Crookes' winning personality.&nbsp;

Joy Crookes 'I Know You'd Kill' by Jake Erland

Joy-Crookes-'I-Know-You'd-Kill'-by-Jake-Erland

Fatherhood is examined in a tender montage of vignettes, in&nbsp;Saddiq Abubakar's promo for Tom Misch.&nbsp;The video for Old Man features a selection of real life fathers and sons, ending with a breathtaking scene between&nbsp;the artist and his dad.&nbsp;Cinematic and absorbing, the visual lingers on simple everyday moments and connection, bringing to life snapshots of stories in a universally relatable way.&nbsp;Lovely work.&nbsp;

Saddiq Abubakar

Tarquin Ramsay

Jaime Ackroyd

Tom Misch 'Old Man' by Saddiq Abubakar

Tom-Misch-'Old-Man'-by-Saddiq-Abubakar

Jak Payne directs an evocative promo for Demise Of Love - a collaboration between producers/alt rock pioneers&nbsp;Daniel Avery, James Greenwood's Ghost Culture and Working Men's Club.The video for Strange Little Consequence sees WMC's&nbsp;Syd Minsky Sargeant&nbsp;perform whilst flanked by Avery and Greenwood within an abstract studio set - designed by art director Fin Sullivan&nbsp;- that's falling apart, littered with falling debris as it disintegrates around the three figures.&nbsp;Tied together by a breathless, quick-cut edit, it's a rousing promo with plenty of fun visual moments - and a great introduction to the new project.&nbsp;

Fin Sullivan

Jak Payne

Rosie Brear

Pete Bishop

Demise Of Love 'Strange Little Consequence' by Jak Payne

Demise-Of-Love-'Strange-Little-Consequence'-by-Jak-Payne

Joy Crookes and Kano deliver the joy and heartache of a life together in a series of moments, within the same four walls, in Jake Erland's compelling video for Mathematics.The artists portray a couple going through the life-changing phases of a relationship – young love, marriage, birth and death - all happening within their home. And&nbsp;we switch between periods, back and forth, as the action takes place within an almost theatrical framework - the same rooms of their council flat, shot on a locked-off camera. So the table used for a birthday party will later host a wake for a&nbsp;lost loved oneThis device is a winner, allowing for Erland to create almost painterly compositions as cinematographer as well as director of the piece. And it provides the contained space for the transfixing acting performances of the two artists.[imgtoken data:1]In this respect, Kano's talents are well known, due to his role in Top Boy. But he is matched by Joy Crookes,&nbsp;who portrays a young woman's ups and downs in a way that suggests she also has great potential as an actor. She has great chemistry with Kano, and the meaningful yet unheard exchanges between them provides good reason to return to this again and again.The&nbsp;visuals overall underscore a track that also feels transcendent,&nbsp;with Crookes expressing the pain of trying to be on the same page with someone you love. After <a href="https://www.promonews.tv/videos/2025/01/21/joy-crookes-ft-vince-staples-pass-salt-jake-erland/89735" target="_blank">Pass The Salt</a>, released last month, Mathematics is the second of a tryptich of videos by Erland for the new album. And after this, it's going to be fascinating to see what they come up with next time.&nbsp;&nbsp;&nbsp;&nbsp;

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