Jake Dypka directs a stirring portrait of everyday life at an English seaside resort, in his promo for Brighton-based duo Memorial's version of A Hero's Death. Filmed in Skegness on the East of England coast - in and around the local Butlin's holiday resort - and shot in a documentary fashion, a static camera captures snapshots of seaside experiences, framing different characters in their own thought-provoking vignettes. Dypka combines observation of holiday-goers with prosaic still lives, capturing a world that feels as if it has barely changed in decades. Meanwhile, the Memorial duo are lowkey extras on the Crazy Golf range and elsewhere.With lovely cinematography from DoP Arthur Loveday, the approach owes something to the hyperreal aesthetic of Martin Parr, but with much less of the photojournalistic cruelty. Dypka gained the confidence of his subjects, who gave their permission to be filmed, and the result is a magical marriage of craft and naturalistic performance.It stands out as one of the best of its kind in a long time - for a lovely cover of the Fontaines DC song.

Sarah Proctor is swept into an after-dark road trip, in Harry Law's dreamy promo for Lost. Fleeing the city in search of solitude and peace, we see Sarah and her love interest live out a romantic narrative, unlike those usually show on-screen. "I'd turn on the TV and never really connect with what I was seeing on the shows and in the movies. That's why I've always wanted to make a little love story of my own, the way I would have wanted to see it," Proctor notes. Simon Plunket's ethereal cinematography reflects the idealistic nature of young love, using soft, tranquil shots to build a tapestry of moments that visualise the flourishing romance - perfectly complemented by the striking backdrops out in nature and by the sea.

Sophia Katyea and James Arden - aka The Trash Factory - team up to direct this breezy beachcombing romp for alt-pop singer-songwriter Quarry. Exploring themes of humanity, reality and what it means to be alive, the promo for Wake Me Up was shot on 16mm with Cinemascope lenses. It boasts an exuberant performance by Quarry, with vintage styling, slick movement and an exaggerated sense nostalgia, joining together to form a powerful whole.

George Belfield follows up his video for Tom Odell's Wrong Crowd with a dramatic sequel that reveals the nature of Odell's troubles in the first one. It's about a girl.Through a series of flashbacks - some from the previous video, some new - the story reveals itself, in which Odell's attempts to process the pain of a doomed love affair is accentuated when she turns up at the club he visits in Wrong Crowd. And with this sumptuous outdoor photography by Steve Annis - and an important contribution of a gorgeous vintage Porsche 911 booming down a deserted highway - Belfield builds the emotion in Magnetised to a higher level.