Rita Ora has the time of her life with a surprising supporting cast, in Joseph Kahn's show-stopping video for Rita's take on the Fatboy Slim classic.Although Praising You is a Norman Cook-approved interpolation of Praise You, Joseph Kahn avoids referencing it's legendary video. He very much does his own thing - of course he does - which is to create a colossally entertaining spectacle, and a fabulous vehicle for Rita Ora. We start with Rita performing in the church in the desert, a unconventional preacher, performing to a rapt congregation - who turn out to be a small army of mannequin dolls, with very unmannequin-like qualities. Every time they are in shot, they are all posed into hilariously uncanny positions. One of them is playing the organ... A few of them are raising their hands in amazement... And by the end, when Rita and her gang head out into the desert, a few of them are lying in a pile of disembodied pieces. The visual has the widescreen cinematic aesthetic you expect from Kahn's work, and some standout VFX - No.8 and POD LDN going above and beyond on the project on this project. Overall, it's a triumph - and a great team up. Kahn frames Rita's undeniable star quality in the best possible way. With explosions, obviously...

Sekou Abineri directs an evocative visual for the next generation French alt-pop star Aime Simone.For Give Me Love Or Give Me Nothing, Abineri has Simone radiating urban cool, but while walking through the desert, dressed in white, leading a white pony, and shadowed by a solitary motorbike rider, also in white.It's an object lesson in how to appear sensitive and also super-cool.

Taz Tron Delix directs the ethereal promo for Calvin Harris and Ellie Goulding's collab on Miracle. The otherworldly video is inspired by the Nineties-style trance elements in the track, exploring a futuristic clash of desert landscapes, anachronistic styling and mysterious movement, revitalising and contemporising the transcendent aesthetics that were born out of the original movement. The video cuts between Ellie wearing a jewelry filled tiara and leather outfit with the look of a powerful Queen on an elevated platform surrounded by what appears to be worshippers in sleek beige suits and balaclavas. The track progresses they march in a strong manner, break-out dancing and wave their hands towards Ellie in a worshiping stance.We then witness different groups of people embracing one another mostly in masks, helmets faces covered, buried in sand, twisting through colourful smoke creating a mysterious tone.Blending a whole host of unusual elements into an oneiric experience, it really is a visual feat that demands your full attention, and elevates the track to a whole new artistic plane.

Hora Bolz directs an impressive music film for El Perro, consisting of visuals for the tracks Call Me When You're Home and Let Me Think That Again.Filmed in southern Spain, the concept is a surrealist twist to the classic Sword Of Damocles story: a couple of outlaws whose life is controlled by destiny and anxiety have to make a decision, to help them understand the true definition of their relationship."The idea for this came hand-in-hand with the location," explains Bolz. "It was really important for me to create a world that felt realistic enough so the surreal elements in it felt authentic. Like when you wake up from a dream, and you need to take a moment to understand what’s going on."For me, the best part when watching a movie - or any art piece - is the interpretation. That’s why I wanted this music video to be like a riddle. It had to be fun for you to decipher, and for me to see what you’ve found."DoP Benjamin Cotgrove adds that the video was shot in extremely testing conditions. "We ended up shooting at the height of summer during 40 degree celsius heat - at times the sun was pretty unbearable," he says. "I knew shooting on 16mm the stock wouldn’t miss a beat and even with our schedule forcing us to shoot when the sun was high noon, film helped to balance the crude, raw sun on the face of our cast."We had an incredible local crew who were not unfamiliar with these conditions and knew exactly how to support us through this: keep a cooler bag ready for the film."