Elliott Gonzo introduces us to an epic dystopian world in his promo for Italian DJ trio Meduza, featuring James Carter, Elley Duhé and Fast Boy.Set in Vietnam - it was shot in the remains of Ho Thuy Tien Water Park - the video experiments with extreme environments, lighting and shadows to depict a group of marginalised young people who are in search of something better, where a remarkable giant dragon statue becomes the focus for their self-discovery. It offers a fresh perspective on contemporary themes, experimenting with colour and cinematography, via infrared filters, to tell the story. "It's a coming of age story, following a group of Vietnamese teenagers as they embark on a journey of discovery and self-realisation," says Elliott Gonzo. "By reconnecting with Vietnamese folklore and mythology, the narrative culminates in the discovery of a crumbling stone dragon statue set deep within a mystic jungle.Gonzo adds that he was inspired by Richard Mosse’s The Enclave to give the location an otherworldly feel and look through the use of an infrared lens filter."In Vietnam the dragon is a symbol of power and nobility, particularly of the nation," he continues. "The characters in the video embody the ancient dragon figure, with fiery red eyes and smoke billowing from their mouths, they represent the power of the youth and progressive subcultures in Vietnam."

Brock Neal Roberts's new video for Sam Fender - his second for the South Shields singer-songwriter, after last year's MVA-nominated video for Seventeen Going Under - elevates an everyday story of teenage friendship with a clever visual device. In the video for Getting Started, we see four friends work their way down their tower block, picking each other up on the way as they prepare to head for a night out. And each stage is mainly presented as a three dimensional photo, the camera tracking through the boys as they are caught static, in the moment.Brock has mainly used in-camera effects to create this sense of hyperreality, with the young actors freezing their bodies in a physical way rather than achieving the effect in post-production - identical twins were used to play the same characters, to bring the complex blocking to life. Imaginative art direction assists to make this work, such as the spray of a deodorant can and smoke from a cigarette created with cotton wool.Sam Fender's performance is the final piece of the jigsaw, walking through the same night-time streets, the unseen narrator of the boys' lives. In the Director's Cut we are featuring here, he is slightly more incidental to the action than in the official release. Ultimately, it is a charming and positive representation of youth and young male friendship.

Brock Neal Roberts directs a chilling black comedy about urban youth in his latest collaboration with Jeshi.The video for Generation, the rapper's pin-sharp critique of a troubled society, explores the complex issues facing the youth of today - from drugs to violence to an unhealthy reliance on digital technology - cleverly encapsulated in a fly-on-the-wall aesthetic. From a vantage point high above the ground, the camera settles on a series of unfolding narratives, before quickly panning away and seeking out the next moment, involving one or more early-teen boy engaged in activities more usually associated with young men, or to Jeshi himself as on-the-spot commentator.The concept is lived out by a group of young boys, who light cigarettes for strangers, throw rocks at takeaway food delivery riders and ignore parents whilst engrossed in their phones.The cyclical nature of the concept is cleverly rounded off in the end scene, where the boys begin to throw rocks at a random neighbour's house, and the perspective switches from third person to first person, proving that we aren't only witnesses to the problems facing society, but very much a part of the tapestry.

Vasilisa Forbes directs a yearning promo for Phoebe Green. In the video for So Grown Up, Phoebe and her best friend Izzy relive poignant teenage nostalgia as they navigate the streets of their childhood home, Blackpool, re-enacting moments from their youth.The tender and mature lyrics reflect on their experience of unsavoury romance, hurt, the pain of reality, and the desire to remain child-like indefinitely. The bittersweet glow of wistfulness is met with a ‘coming-of-age’ narrative and the brutalist, coastal arcade mania of Blackpool.The hazy cinematography perfectly encapsulates the dreamlike nature of the concept, whilst the contrasting colour palettes - between the vibrant styling and grey, destaurated surroundings - heighten the dichotomy.

Will Ainsworth and Che Lingo co-direct an evocative, carefree promo for Lingo's Eyes On The Prize. Structured as a day in the life of five friends on an estate in South London, Ainsworth reminisces about childhood and what it was like to wake up and enjoy the weekend without any cares or worries.The documentary-style cinematography adds an authentic flair to the vignettes, which reflect the innocence of youth, and timeless memories we are all able to connect to.

Brock Neal Roberts pieces together an intimate portrait of youth, in his promo for Sam Fender's Seventeen Going Under. Built around the idea of trying to find existence and clarity amongst the chaos of being 17, the video interconnects naturalistic vignettes which touch upon romance, growing up, and fights between friends. The video boasts striking cinematography from Benjamin Wearing, and a bold change in style for Brock Neal Roberts from his last video, the surreal vision for Eli Brown's Trouble.

Ethan + Tom capture the surrealism of suburbia, in their dreamlike coming of age story for Wu-Lu's Being Me. Following two young guys on a bike ride through a town shrouded in nighttime placidity, the video delves into a frenetic exploration of youth, coming of age and isolation. Shot in a gritty yet abstract style, the video perfectly matches the enigmatic stylings of Wu-Lu's otherworldly sound.

The threat of conflict hangs over a young girl's head, in Paola Kudacki's affecting promo for Waiting On A War - her second video for Foo Fighters. Drawing parallels between intergenerational fears of war and destruction, the video opens with a teenage girl - played by Thalia Gerloff - pacing about a desolate wasteland, isolated and broken. Intercutting nostalgic memories of carefree times, the concept builds to a riotous crescendo, with the younger generation fighting back against outdated institutions and ideals. It's a striking piece, anchored by gloomy, haunting cinematography and an overarching expectation of disaster. At the same time, a glimmer of hope remains, suggesting that things might improve if we can work out our issues as a society.