CANADA's Lope Serrano's second video for Dua Lipa takes the colour-coded song-and-dance production of Physical in another sexy, surreal, and Western-themed direction. With the Director's Cut now released, Serrano's full vision is revealed.Cowboy and cowgirl clowns join Dua in a Victorian hall - the Grosvenor House Hotel in London - and ride invisible horses, wrestle gainfully with a giant floating egg, practice their lines - and of course line-dance.Of course its Dua Lipa who presides over all, memorably from the seat of a mechanical bull, and also donning the clown make-up - more assured and comfortable than ever as a bone fide music video icon.Like it's star, the whole video is stunning to look at - and blissfully enjoyable from start to finish. A gorgeously glamourous, fabulously frivolous fever dream.

Greg Barth explores the irony of growing up in the modern world, in his spectacular video for Purple Disco Machine's Fireworks. Depicted as a dance battle between Gen Z and a group of Boomers, the video alludes to many crises that face the human race today; climate change, the use of fossil fuels and overconsumption being just a few examples. And whilst the Gen Z pack start off with their own minds, fighting against these injustices, they are soon twisted and distorted into an older way of thinking - leaving a planet in the midst of destruction, exploding and crumbling as the glossy dance number comes to its crescendo. Thought-provoking work with an accessible and unique twist.

Shan Phearon's stunner of a video for Tiggs Da Author draws us into a darkly comic world of a quartet of roadmen, who also happen to be vampires.If it's Top Boy meets What We Do In The Shadows, with a dash of '90s movie Tales From The Hood, Phearon has certainly created his own distinct world for this bunch of reprobates, who process blood like a valuable drug, feed their unfortunate victims to their harem of vampiric vixens, and seek some form of redemption, via the hand of the book-toting Tiggs.The fast-moving action takes place within a typical house on an everyday street, but it is anything but mundane. It's the colour palette - lurid, almost terrifyingly bold - that stands out more than anything. As in previous videos, Phearon goes hard for the primary spectrum, then dials it up more than ever. A remarkable look for a very cool piece of work.

Lucrecia Taormina brings her trademark off-the-wall style to one of the most exciting collabs of the year, with Bree Runway ft Missy Elliott's ATM. Opening on-stage in an opulent club cum casino, Bree dives right into some firey choreography, before we are introduced to a man with an ATM for a head... So far, so Taormina. The concept is completely absurd, paying homage to the oddball concepts of the late 90's and early 2000's, making the iconic Missy Elliott's inclusion that much more appropriate. Top-notch across the board, this is one of the most exciting visuals to come out of the last year in lockdown, and a taste of something more exuberant, risky and bold. And if there's one frame that stays with you, it has to be Bree's gigantic mouth firing out tonnes of dollar notes...

Things get steamy in French rapper LaLa &ce and Laura Marciano's party-set video for Show Me Love.With its entire focus on the desirable people at this fabulous house party, the artist and director unlock an alluring, super-hip world of glamour and sexual promise in a very concise, and very watchable manner.The conspicuous absence of social distancing also makes it feel quite nostalgic right now. Must have been a very tricky assignment for the Covid officer...

Mila Austin's second music video for pop duo Apre is about the things in life - everyday problems to everyday vices - that hold you back.Frontman Charlie Brown encounters examples of these distractions as he moves through a house that teeters between reality and dreamworld - a metaphor for the singer's state of mind.This is Austin's director's cut, including a fast and furious drinking session that explains Brown's wobbly legs in the latter stages, before he gets to the point of I Know I'll Find It, that the only thing stopping him is himself.

Andre Muir has created an ambitious four-part project to accompany Mensa's latest mixtape, V Tape that focusses upon Mensa's roots on the Southside of Chicago. The visual album creates a portrait of Mensa while exploring issues of community in the Southside of Chicago, the Black experience, his African roots and religion. Muir employs a combination of documentary footage, including stills portraiture, with powerfully impressionistic set-pieces, as he tells the story of the place and the people, figuratively over the course of a single day.Here he explains the process and the thinking behind each part of the Director's Cut of the V Tape visual album.

Nelson De Castro directs a story of self-reflection for Waze & Odyssey's Always, that toys with viewer's perceptions - and is not diminished by referencing the classic video for the original track. Utilising a seamless blend of practical and digital mirroring effects, the concept for De Castro's video for the remix of Always - written by Stevie Wonder in the '70s, covered by George Michael and Mary J Blige in the '90s - takes place in a diner, where De Castro playfully switches between different types of doubles. At first it's mirror FX, and then the mirror breaks down, interweaves and disconnect (literally) at cleverly timed moments.The beauty of the video lies in how the skill of the choroegraphy, and the cast - led by the Huber twins, Allison and Veronica - gently emerges. Eddie Inda's wonderful art direction helps hide the subtle transitions, creating brilliantly surreal copies of clocks, sprawling menus that overlap corners and intricate coffee stains.Combined with DoP Jeff Leeds Cohn's complex yet striking cinematography, De Castro has orchestrated one of his most successful videos - particularly in this director's cut. Here, he also includes excerpts from George Michael and Mary J Blige's own remarkable video for Always - by directing duo Big TV!"We designed, built and cast a perfectly mirrored world, down to the last drop of spilled coffee." he says. "It allowed us to intercut simple digital-mirror effects like an on/off switch." It's a mesmerising, thoroughly entertaining trip.