A second video for Katie Melua by director/producer duo MrMr takes a poignant and emotional look at the experience of women coming to work in the UK, with loved ones far away. In the video for Love and Money, we see the lead character - played by Sophie Chinner - talk to her son on a video call, making the most of a small window of time before she needs to get back to work. As a cleaner of an upscale home, her work day is silent and contemplative, but when her memories begin to seep into the present moment, she takes the opportunity to dance in reflection of times spent with her loved ones.This is one of a pair of videos for Melua by MrMr - Katie Lambert and Martha McGuirk - that explore the experience of coming to live and work in the UK from elsewhere, and released shortly before the more upbeat Quiet Moves. "This song made us think about the countless women all over the world who travel to foreign countries in order to work and to send money to their loved ones at home," say Lambert and McGuirk, aka MrMr. "We wanted to show the sadness in being apart from your family, but also the strength and determination these women have. When we spoke to Katie Melua about the idea this is something which really resonated with her as she comes from Georgia, where a lot of women travel abroad for work."The video was beautifully shot by Ailsa Aikoa and cut by Tamara Ishida at Assembly Rooms. Our lead Sophie Chinner was also amazing - a brilliant dancer and actress."

Jim Wilmot finds an excellent way to tug at the heartstrings for Lewis Capaldi's tearjerker - filmed at Terminal 5 at Heathrow Airport. This sees Capaldi setting up to do an acoustic solo performance of new hit Wish You The Best in the Arrivals section at the Terminal, watched by a surprised group of expectant friends and family who are waiting to be reunited with loved ones. Cue a rollercoaster of emotions that we have all experienced when seeing our families after an extended period of time, captured in a very affecting way. With both docu-style footage of the reunions and a more posed portrait for the camera, it's simple yet impactful concept, executed to perfection. And it is destined to bring a lump to the throat - just as the official video for Wish You The Best does.

Lucy Knox directs an intimate portrait of life on the Isle of Sheppey, in this tender promo for Australian band DMA's. Shot with a crew of four at the start of the year, the video is a charming exploration of people and place, following a central narrative with accompanying portrait vignettes of different residents. Exploring the complex relationship between a father and his daughter, the video is one that really pulls at the heartstrings, and the docu-style aesthetic helps convey a story that is both personal and universally relatable. A masterclass in blending narrative and documentary elements, and a very well executed video indeed.

Arlo Parks celebrates her impurities and those who uplift her, in Jak Payne's breathtaking new promo. The video plays out in a series of theatrical, minimalist sets, with different rooms and performance setups created within a studio setting. Experimenting with light, texture and experimental camerawork, the video channels the enigmatic soundscapes of the track into an ethereal, transcendent aesthetic, which blurs the lines between reality and fiction. The idea of family and community sit at the centre of the concept, and whilst the dreamlike aesthetic might suggest an otherworldly vibe, the star of the show is the everyday stories and emotions hinted at in the vignettes. Beautiful work.

Hector Dockrill directs a heartwrenching promo for new Lewis Capaldi track Pointless. The narrative for the video captures a mother-son relationship with beautiful and heart-breaking intimacy. Spanning a couple of decades, the concept follows a single mother who strives against all odds to give her son the life she never had, and is packed with an emotional punch. With a wonderful performance from BAFTA winner Niamh Algar (The Virtues, Raised by Wolves) and three actors playing the son at different stages of his life - including Charley Palmer-Rothwell as her grown-up son - the video reinterprets the song's lyrics to explore a different type of relationship, and it works perfectly.The naturalistic cinematography and relatable themes help make the video feel incredibly realistic and universal, and it will no doubt have viewers thinking about their own loved ones as we enter the festive period. With mixed dialogue throughout, we both hear and see glimpses into the ups and downs of their daily lives over the years including financial hardship and the tightrope of being a working single parent. And in keeping with the theme of family, Laura Dockrill – Hector’s sister - wrote the script, making this a family affair both on and off screen.“Lewis had a beautiful idea that focused on the mother/son bond, and how responsibility shifts as you grow older," says Hector Dockrill. "Niamh Algar is a phenomenal talent and we’re already chomping at the bit to work together again. With only a week’s prep, she managed to immerse herself into the role and completely make it her own. This is definitely a special film that everybody can connect with – a shout out to every mother.”

A young maid finds herself at a crossroads, in Maxim Kelly's mesmerising promo for Ethel. Waiting hand and foot on a slightly surreal family, we see the main character run errands and try to stay out of the way, as the father figure lip-syncs to the track, getting oppressively close to her wherever she tries to escape to. Ending with a climactic dance in the living room - performing to the awkwardly apathetic parents and daughter - the video is haunting and contemplative, echoing films from French and Korean arthouse cinema. A subtle manipulation of the textures of the image at certain points also heightens the surreality of the concept, which creates an unnerving atmosphere.“Initially I thought Ethel should be the main character and do the dance at the end, and I always had this image from this French film called My American Uncle, where it’s like a little girl standing up at a table," Kelly explains. "I originally had that image in my head for a rap video, but it didn’t really make sense to the song. I wanted this to feel more like surreal so then as I started finding more imagery. It kind of transpired that maybe the maid was the more interesting character.”