Elliott Gonzo directs a stylishly hyper-violent video for electronic rock duo Wargasm. Inside a fetish nightclub, we see a crowd of alternative partygoers dance under coruscating strobes, whilst a loathsome antagonist forcefully tries to scupper the event. The video dives into a brilliantly violent haze of bottle-smashing and fistfights, with a bloody climax that will leave viewers breathless. Bold and accomplished work from Gonzo and team - with images that will stick in your head long after you've watched.Warning: This video may potentially trigger seizures for people with photosensitive epilepsy or similar conditions.

RadicalMedia’s C Prinz, part of directing trio sportscar, has joined forces with rapper and singer Doechii to forge an untamed and unforgettable new music video for her latest single ‘Crazy’. Teeming with female nudity, gun violence, and unfiltered emotion, the video tackles taboos surrounding women in the 21st century.The video opens dramatically with a nude Doechii shooting another woman in the head in an abandoned warehouse. Chaotic to its core, this sense of wildness continues throughout the film, which sees women smashing cars with baseball bats and dancing fiercely in formation dressed only in thigh-high leather boots, as well Doechii putting out a cigarette on her own arm. As the action escalates, a car is set alight, women fighting, running, and dancing in its orange glow. Suddenly, we cut to the first scene again, with Doechii shooting the woman once more - only this time, we realise that she is shooting herself.To craft the film, C Prinz collaborated closely with Doechii and label Top Dawg Entertainment on the creative direction, wanting to dissect the intricacies of women-on-women violence. Drawing from a decade of experience in the industry, C Prinz and Doechii wanted to reflect on the fact that some of the harshest moments they had suffered had come from other women, in reaction to a feeling that there wasn’t enough room for all of them. Pushing back against that notion, the team wanted the video to convey the thesis that when one woman suffers, so do they all. Using the revelation that Doechii was shooting herself all along, the video seals in this idea, showing that at the end of the day, women are in it together.The music video was shot on several different cameras, sometimes simultaneously, in order to complete the whole shoot in a single day. For the beginning and end, C Prinz had originally pitched a SnorriCam, so DP Mika Altskan reached out to the inventor himself to find out if he had anything new for them to play with - and he did. Doechii was given a rig to wear that could allow the traditional SnorriCam capabilities, while also being able to push and turn the camera on two other axes. This never-before-used equipment allowed Mika to transcend the dimensional possibilities of the scenes, making the viewer feel like they are inside a video game.Taking responsibility to respectfully depict such stigmatised and triggering imagery, namely female nudity and point blank gun violence, the shoot had to be approached with sensitivity. Field Trip producers Eli Raskin, Cole Santiago, and Nance Messineo strived to bring the creative vision to life while also cultivating a safe environment for such intensity to exist in a non-threatening way. C Prinz also ensured that the teams involved remained mindful of how the content would be perceived, knowing how quickly viewers could misinterpret its shock-value as gratuitous. To combat this, C Prinz worked to make the core message clear, transforming the piece into a springboard for reflection and debate on the way challenging ideas make us feel.C Prinz comments: “The idea for a project about power, self-realisation, and self-actualisation had been forming in me for a long time, and hearing the track brought it to the surface. It's a film about women surviving and ultimately rising in this world - I come from choreography, so I often see things in terms of bodies moving in relation to the rules of their space. When I pitched the idea, I didn’t think it would get the green light - it would be too dark, too aggressive, too masculine - but Doechii and Top Dawg Entertainment ran with it and allowed me to go even darker. From that day on for the next four months, Doechii and I worked closely to interweave her personal story inside of this beautiful hell.”She adds: “I am unbelievably humbled and endlessly inspired by every single person in the cast and crew that showed up with their endless energy and levity - this film is what it is because of their openness and willingness to trust and try. Similarly to how I feel about every department head on this project, DP Mika Altskan's willingness to work with me unconditionally, day and night, for two weeks straight was beyond the job description. His constant challenging of the idea every single day in a new way was truly inspiring.”

Megan Thee Stallion, calling out hyprocrisy in her inimitable fashion, in Aube Perrie's astonishing video for Thot Shit...

Filip Zaluska directs a stirring exploration of desire, love and betrayal in his exceptional visual for Rysy's Kilo. Opening with a shot of lead actor Magdalena Gorzelańczyk sitting bloodied and bruised at the side of the road, the video evolves through to a series of evocative scenes, depicting a love affair between Gorzelańczyk's character and a girl played Martyna Wrobel.The vignettes are presented in a dreamlike fashion, switching out each of the actors so that the other is interacting with blank space, raising questions about what is real and what is fake, in a complex amalgamation of memory and fantasy. Szymon Kuriata's cinematography adds otherworldly atmosphere to this story, with bold use of colour and a frenetic dichotomy of stillness and agitation. But at the core are a couple of memorable performances, particularly from the brilliant Gorzelańczy, brought to the screen in viscerally powerful fashion by Zaluska.

Ilya Naishuller directs a - quite literally - bloody brilliant promo for Biting Elbows. After years in the music industry, it’s natural for bands to evolve their sound. For one girl group, however, the shift from aggressive heavy metal to marketable pop comes at a brutal cost.The graphic music video for Naishuller’s own indie rock band Biting Elbows follows the ultimately deadly evolution of Boy Is Dead - as one member deals with the idea of selling out.The narrative starts at a school talent show, where a super young version of the group stun the audience with a thunderous heavy metal rendition. Jumping to the future, the band have sold out to the commercial machine, as so many promising rebels eventually do.After being forced into a box that is a far cry from her original aspirations, the drummer hallucinates a mysterious devil creature and goes on a bloody rampage with a kitchen knife, taking out her fellow members, manager and a sleazy record label exec in the process.Shot over two days and starring a mix of Russian movie stars and TikTok personalities - as well as a cameo by the young star of Ilya Naishuller’s recent spot for Brusnika - Boy is Dead is Biting Elbow’s latest foray into cinematic, story-driven music. The promo is also part of a collection of 15-25 minute short films, entitled A Musician’s Nightmare.“I think sooner or later, everyone that plays in a band faces a moment of uncertainty towards the other members," says Naishuller. "If a band is a living organism, what happens when its legs start walking in different directions?”A must-watch, which encompasses the frenetic hell of Naishuller's feature Hardcore Henry with the lingering obsession of celebrity and social trends.

A powerful chronicle of a toxic love for Ichon, by new directing team Exotica.Over the 11 minute duration of Elle Pleure En Hiver, the film depicts the evolution of the relationship between Ichon and Maya - played by Melodie Adda.With the sense of confinement of the pair in a Paris apartment - a quasi-voluntary version of the universal experience of lockdown - comes an enchroaching madness, and impending doom...