Jacob Anderson's latest outing as musical alter ego Raleigh Ritchie has prompted this thought-provoking video for new track Aristocrats, directed by Anderson himself. It is a family portrait through British history, that switches through different time periods through appropriate costumes, from the times of the Crusades, to Victorian times and the 1960s. But in Aristocrats, this great British family are black, as Anderson laments the one-sided teaching of British history, switching out the overwhelmingly white British aristocracy with a more diverse set of characters.Switching between periods, the barriers between the periods begin to break down. As the camera draws closer to Raleigh, these scenes become more confused and mixed up - a manifestation of the artist's frustration at being served up a skewed version of history.Through motion control, DoP Joel Honeywell utilises simple tracking shots to bring the focus to the characters and costumes, punctuated by exaggerated closeups as the concepts builds towards its frenetic and haunting climax. Editor Jo Lewandowska cleverly intercuts the different setups to create seamless transitions, with the switch-up in pace in the final few moments a genius balance of tension and emotion.

Nathalie Christmas (fka Nathalie Neal) and Amber Mark ring in the new decade with a clash of 2020 sex-positive realness and Old Hollywood demure.The track Generous twists a Mancini instrumental into a new pop anthem, visually punctuated in the video with snappy editing and choreography worthy of a modern-day Marilyn.Art director Gabriela Cobar blends traditional colour palettes and textures with contemporary styling, creating an anachronistic aesthethic worthy of the concept. The result is an Instagram classic: colourful, sexy, and packed with great fashion.

Amun conspires against the eye candy on her arm in Margot Bowman's video for Talk To Me Nice. Amun and her date arrive at a front door for a dinner party, ring the doorbell and wait patiently. So far, so normal.. But once inside, the atmosphere become hazy and hallucinogenic, a group of women with their eyes locked on the solo male. When it's time for dinner, there is a no sign of him, and Amun just so happens to cough up a men's style ring. Dark and sultry, the video is packed full of iconography, leaning towards the occult with the styling and props. DoP Beatriz Sastre utilises red lighting and blur effects to heighten the tension and mood of the setups, creating an out-of-body style experience as the camera stalks around the house. Amun's performance is confident and assured, and she jumps into the macabre role with zest.

Stefflon Don, Geko, Dappy and Deno run into trouble with the law in Labi Odebunmi's video for Link Up. A high energy, cinematic performance setup for each artist is contrasted with an interlinking narrative, depicting each of the artists being arrested and taken away from their loved ones. Inside the prison, they are all desperate to link up and reconnect, but the stubborn and brash officers are having none of it. Sampling the legendary R'n'B hit Always on Time by Ashanti & Ja Rule, the bouncy track is a collaboration between some of the biggest names in the genre, and the video reflects this with high production values and a very well executed concept.

Col3trane and featured artist Miraa May explore shadowgraphy in Rendezvous, directed by Jamie Whitby. For anyone not familiar with the term, shadowgraphy is the act of creating silhouettes on a wall- most of us have experience making dogs, cats, etc with a torch when we're kids. There's none of that here. It's much cooler... and darker.From shadow reenactments of heists to energetic performances, the struggle between light and dark is represented in a clever and innovative way, weaving live action setups with the silhouettes through exciting transitions. Great work from the team and artists.

Gallant's latest video has real legs. Bennett Johnson directs this clever piece of choreography, in which Gallant tries to escape a sharp-heeled femme fatale. The twist being that we only see either of them from the thigh down.Ever heard of the Thatcher Illusion? Try staring into your friend's eyes, upside-down, for more than a minute. More likely than not, your brain will begin to compensate, and start seeing a horrifying inverted 'correct' face with a forehead for a chin. Well, there’s a moment as you’re watching Sharpest Edges where you stop seeing cropped humans. And you start seeing anthropomorphic pairs of legs with personalities, fears and dreams. The trick is pretty spectacular. A potent reminder that there is still room for experimentation in the most obvious of places.

Disco lights, bullies and embarrassing dancing. Nothing will stand between a boy and his school dance in Dustie Carter’s charming video for Sleepy Soul.Our young hero has two left feet and a girl to impress. So, armed with a pair of headphones, an instructional dance video, and a basement full of cardboard classmates, he overcomes his nerves with pure guts and ingenuity.The video has a nostalgic style. Period details will feel familiar to anyone who came of age at the turn of the millennium, but this is ageless middle school story transcends its '90s setting. Mike Dalton’s signature milky photography ebbs in and out of focus, establishing the warm atmosphere of a distant memory.A special mention should go to the video’s young star Mitchell Scheer, who is certainly not a terrible dancer. He carries the video with that strange mixture of confidence and naivety that defines the formative years of so many.

Molly Burdett reverse-engineers the lothario trope in this erotically charged video for Arlo Parks.A young heartbreaker wanders home through her estate, seducing women while her girlfriend waits at home. Their complex relationship plays out through improvised dance and a series of organic metaphors. There’s blood in the water, worms in the roses, and too many fish in the bowl. Miles Ridgway’s photography gives the video the heady, sensual atmosphere of a hot summer day.This is Burdett’s second collaboration with Arlo Parks, in a series of gentle, carefully sketched studies of young Londoners. It was inspired by the romantic cult of Lord Byron, the self-destructive bad-boy of Georgian London, who allegedly seduced half a city."I imagined someone reckless and beautiful leaving a trail of broken things in their wake - unaware of the damage they’ve caused," says Burdett.