Directing duo Holy Magury direct an intense VFX-fired promo for mysterious Paris-based producer Prince 85. The video for All Of Us is a frenetic mix of Y2K textures and hallucinatory effects, following the artist on a visceral POV journey through the streets. Prince 85 becomes increasingly overwhelmed by the hostile stares of strangers. The tension builds until it erupts into a violent, unprovoked attack. We discover that the artist was targeted because of his difference: he is not human.A raw, symbolic, and unsettling debut that blurs the line between realism and futuristic fable.

Director duo King She create a brilliantly imaginative promo for French-Cameroonian artist Yamê.The visually striking promo for Shoot draws from a pivotal fall in Yamê’s childhood, which shaped both his distinctive jawline and teeth. King She developed the narrative around the theme of falling, using it as a metaphor for self-discovery - and the concept was rooted not only in Yamê’s experience but also in a similar event from the director’s own past. Opening with young Yamê falling and breaking open - revealing a giant stone version of himself filled with an Escher-like inner world. Inside, countless versions of Yamê wander through surreal corridors and shifting rooms, each encounter representing different incarnations of his struggles.Yamê wanted the video to feel like a video game - each scene unlocking a new level of his consciousness. The motorcycle chase, for instance, plays like an action sequence from a psychological game, while other sections mirror 'boss fights' with darker parts of the self. This structure gives the film a pulsing energy and dreamlike progression, allowing for a distinct visual language in every scene. Filmed at Villa Arson, a fine arts school in Nice, the video uses the geometric austerity of brutalist architecture to evoke authenticity and material honesty.Yamê’s Cameroonian heritage also plays a key role in the visual storytelling. After showing King She the spiral architecture of traditional villages in his ancestral homeland—structures that echo early conceptions of the galaxy—the filmmakers integrated this motif throughout the video. It all culminates in a final shot that honors African cosmology and architectural traditions.To portray Yamê’s journey through a shifting, Escher-like mental maze, the filmmakers combined in-camera effects, practical set builds, and a range of post-production techniques—including keyframe scaling, 2D animation, CGI, and AI-generated imagery. Key VFX partner MONUMENTAL FX provided standout CGI and set extension work, bringing to life the surreal architecture of Yamê’s internal world. During production, the team 3D-scanned Yamê which enabled the creation of the giant stone figure featured in the video’s opening.Every visual choice was designed to render emotional conflict as external chaos and immersive art. The end result is a rich, cinematic journey through the complex architecture of the self. Outstanding work.

A pulsating performance by Japanese emo rock outfit ONE OK ROCK is captured through a sense-assaulting array of techniques by Masaki Watanabe.As the band power through C.U.R.I.O.S.I.T.Y. - with the help of guests Paledusk & Chico Carlito - Watanabe's box of tricks involves dynamic transitions, super-intricate editing and relentless visual trickery.It's a powerhouse of a video, with nods to classic FX-enhanced performance promos like the Alex & Martin-directed Seven Nation Army for The White Stripes, whilst set in an endless black void reminiscent of Tim Saccenti's legendary video for Battles' Atlas.

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.