Doechii's hit that samples Gotye's even more massive Somebody That I Used To Know, gets a brilliantly mind-bending video by James Mackel.In her sunny suburban home, things get weird in wonderful ways, as Mackel and Doechii pay homage to her previous music videos and also the memorable 'bodypaint' Gotye video (by Aussie director Natasha Pinkus). And it also features Doechii's own twin sisters as The Shining-like twins, overseeing all sorts of disaster in the house. It's organised chaos, shot from many angles in Mackel's brilliantly constructed follow-up to the wonderful Denial Is A River (which he co-directed with Carlos Acosta). When she escapes the chaos in the house - the first thing she sees is an elephant.And it culminates in a brilliant climactic dance sequence in the street outside - and that's arguably Doechii's biggest moment yet.

Suzie & Leo, among Yung Lean's longtime collaborators, create a visually striking exploration of resilience and transformation where the Swedish rapper becomes the target for a huge throng of arrows.The video for Babyface Maniacs, places the artist in a surreal wasteland and as he moves steadily forward, the arrows come, piercing his body - so he ends up as a human pin cushion. But still he steadily moves forward...Shot on location in a haunting Moldovan construction site and enhanced through practical effects and 3D modeling, the film blends mythology, sculpture and sci-fi minimalism, whilst also drawing upon the biblical tale of Saint Sebastian - a notable subject of Renaissance painting. Echoing themes of the fallen hero, the piece portrays the internal and external battles of an artist who refuses to surrender. A deeply stylized palette, icy blues mirroring Lean’s eyes, reinforces the dreamlike, melancholic atmosphere.With references ranging from Gustave Doré to Truffaut, and a subtle nod to Bergman, Babyface Maniacs embodies a poetic collision of vulnerability and strength, guided by an uncompromising creative vision.

According to the famous African proverb, it takes a village to raise a child - and the remarkable and emotional video for Kae Tempest's Statue In The Square could be seen as an embodiment of that idea. Kae's own village is all there with him in front of the camera lens. And also behind it.The promo for this stupendous track was created by a collective of filmmakers assembled specifically for the purpose by EP Juliette Larthe - as 5-person directing team Boy Dykes - with a huge cast from the queer and trans+ community.With so many different people on screen, and a range of in-camera devices to heighten the sensibility, elevating the urgency of the message, Kae remains front and centre. It is all, ultimately about him, proudly and fearlessly expressing his right to be a boy. It's powerful, affecting - a big moment for the artist that comes at an important moment for the community as a whole. "Our music video for Kae Tempest’s *Statue in the Square* is a powerful statement of resistance and visibility for the trans and queer community," writes the video's producer Gael Houdin-Brenac. "The song itself is an urgent, unfiltered cry against oppression, a declaration of strength in the face of systemic hatred. To honour that message, we assembled a production where 95% of the crew and cast are queer and trans+, ensuring that every aspect of the film is shaped by those who live the reality it speaks to."Directed by Boy Dykes - Juliette Larthe, Jess Kohl, Lydia Garnett, Jesse Glazzard and Romeo Roxman Gatt - the film is more than a music video; it is an act of defiance, a refusal to be erased, and a raw celebration of resilience. At a time when attacks on queer existence are intensifying, Statue in the Square stands as a counterpoint, a bold expression of identity and freedom."Every frame is infused with the energy of a community that refuses to be silenced, capturing the urgency and defiance that support the song itself."

Directing duo rubberband. invites us on a visually haunting journey for Houston rapper/singer Don Toliver.While Toliver heads into a supermarket late at night, he leaves his friend in the car, in the completely deserted parking lot, illuminated by a floodlight on a 40-50ft mast. As the track kicks in, the friend spots the graceful figure of a pole dancer near the top of the floodlight mast.In their distinctive fashion the directors - Jason Sondock and Simon Davis - orchestrate a precision-cut experience, weaving a surreal narrative through the use of formally executed shots and unorthodox editing - distance shots of the pole dancer taking precedent over close-ups; Toliver barely lipsyncing the track as he walks around the vast store; the viewer is drawn in by the suspenseful pacing and not knowing what will happen next. Toliver's charisma and performance unfold naturally, creating a striking contrast to the surreal scene - which draws to its denouement: the parking lot tarmac turning to liquid, absorbing the car, and the rapper's friend...A masterful, mesmerising cinematic experience.