A night out at a house party plays out in two very different directions, in Sophia & Suzie's absorbing promo for Tom Walker. The video for Freaking Out features Thomas Turgoose as the main character, and follows his experience across the party in split-screen. On the left side, his anxiety and fear is taking over, blocking him from enjoying the night, whereas the right side shows a freer, more confident version of the character in each scene.It's a thought-provoking concept which brings the themes of the track into focus in a relatable way, anchored by brilliant performances and clever camerawork.In particular, Turgoose is great displaying two different personalities within the same environment. And after his appearance in The Kills' Wasterpiece, this is his second (and third) performance in a video recently.

The latest in a longstanding collaboration between Finnish director Heini Susanne and London-based artist OLI is an autumnal celebration of friendship and movement in a natural setting.Susanne's video for Better Than Before - following the likes of Don't Give Up and Float - stylishly combines portraiture, fashion and dance with a cast of characters captured on wide-angled lenses to create a sense of abstraction and wit around the images."The video explores connectedness by playing with human bodies intertwining with each other and nature," says Heini Susanne. "With the help of our fantastic movement director Jack Traylen, we got to mould bodies into shape like sculptures."Talent is seen growing as part of the organic world. The steady, slow-moving parts of these human sculptures in nature are juxtaposed with fast-cut bits from a dance scene taking place in a man-made environment. The energy of the dance scene alters from calm to hectic which is reflected on camera movement and angles."We used mainly the LAOWA 12mm to create a world that hopefully steps away from the everyday, keeping in line with OLI's dreamy, otherworldly music."

Indie-pop singer-songwriter Ellur (aka Ella McNamara) co-directs the slow-burning video for The Woman, the title track from her just-released debut album, with Andy Little.From being alone, Ellur gains strength and support in a roomful of women who understand the pain she describes in The Woman, a song which builds to a fistpumping crescendo, a real indie anthem.“Despite being the result of a distressing time for me, I see ‘The Woman’ as a celebration of togetherness, womanhood and support that can get us through difficult times. It’s a song that is very close to my heart. I wrote it after processing a traumatic experience in my late teens that had made me feel frighteningly vulnerable."I wrote The Woman with no intention of showing it to anyone or releasing it. But after slipping it into a few acoustic performances early this year, I received really inspiring feedback from people in the audience. Women were approaching me to tell me they liked the song with this knowing look and I felt an immediate connection to them. It actually felt pretty devastating that we had these experiences in common.”

Sally Potter, one of the UK's most cherished filmmakers, has now made a detour into music, recording her debut studio album called Pink Bikini, to be released on July 14th. And Potter has also directed the music video for the first track released from the album, Black Mascara - featuring the director now, and playing her younger self.The album is described as a semi-autobiographical collection of songs, about growing up female in London in the 1960s. Potter - the director of acclaimed movies such as Orlando and Ginger & Rosa - captures the era with a single set-up in the Black Mascara video: Potter spinning a hula-hoop, facing the old brick wall of a railway arch, joined by two acrobats - adding a touch of Fellini-esque whimsy to the grim, gritty postwar aesthetic - and a second Potter, talking to her 'teenage' self. Potter also appears as the narrator of the song's tale of teenage rebellion and naivety, overlaid across this evocative set-up. And she comments that the making of the video also took her back to her earliest days as a filmmaker.The need to invent and imagine things out of nothing became part of a philosophy that I later named ‘barefoot filmmaking’. "Black Mascara was one of the earliest tracks I wrote for Pink Bikini, an album of songs based on a look back over my shoulder to the despairs and longings of my turbulent teenage years; a time of change: the end of childhood, the beginning of life as an adult."Making the video was a different kind of return. It needed to be made in the way I made films when I first started out as a teenager. Back then I had no money, training or equipment. The need to invent and imagine things out of nothing became part of a philosophy that I later named ‘barefoot filmmaking’. It meant working with minimal means, borrowing gear and working with the goodwill and energy of a few beloved friends and co-conspirators. Under those circumstances, the propelling idea was everything."For the video I split myself into three; a narrator who looked out at the viewer through the lens; a second self, singing to another self who – for no apparent reason – is facing a wall whilst spinning a hula hoop around her waist. Circles within circles."I filmed myself singing to camera, using my iPhone, against a homemade blue screen. Then I searched for a location in which it might be possible to shoot at night without any additional light. I found a murky archway under a railway, the stained brickwork probably unchanged since my teenage years. And finally, some acrobats, echoing the circular nature of it all – spinning, flipping, then as now."The great Robbie Ryan stepped in to shoot, a skeleton Adventure Pictures team with a tiny crew of recent NFTS graduates generously did everything else on the night and the spirit of the shoot was joyfully consistent with Barefoot filmmaking and a feeling of beginning."

Korrie Powell directs a tender promo for London-born singer-songwriter Konyikeh.The video for Teenage Dreams explores a therapy session, where Konyikeh confronts the complexities of comparing her life to her brothers'. Initially, she believes their lives were vastly different but eventually realises their intertwined trauma reveals connections she never comprehended.Bookended by narrative segments which are anchored by complex, captivating performances, Powell's video is a tour de force of style and substance. The abyss-like studio boasts simple yet powerful art direction and represents the boundless expanse of the mind, a space where our memories and stories can co-exist and be examined at will.A very impressive music video by a young director to watch out for.

Elle Brooks-Tao has directed an absorbing drama about a young man in emotional crisis in a small Irish seaside town, for Irish singer Moncrieff's heartfelt Young Men. The song is an uplifting anthem that addresses mental health in young men, and the director approaches the same subject in a compelling fashion. Written as well as directed by Brooks-Tao, the central character is a young man - played by Eanna Hardwicke - who faces the good-natured taunts of his group of mates when he leaves the pub early. As he walks across the deserted nighttime streets, Brooks-Tao starts to reveal the vulnerability and pain that exists behind the mask of bravado through a series of flashbacks - and nails a convincing motive for this young man's mental distress: guilt and shame at previous bad behaviour; a traumatic episode with his father. This is really impressive stuff - beautifully shot by DoP Leon Brehony - which is worthy of comparisons to superior TV and film drama, for its sensitive and insightful look at young malehood. And has to be said that Eanna Hardwicke has something of the Paul Mescal about him.