Sorry (not sorry) for the mass destruction as Halsey walks away from a car crash in a one-taker that looks like an epilogue to her Hopeless Fountain Kingdom video series.
There's a vintage Kung-Fu vibe to this new Migos video, including a lengthy fight sequence, bloopers over the end credits, and lots of quick camera whips to match the whiptastic nature of the song itself.
Francis Wallis has directed this dreamy, fantastical underwater vision for Birdy's Wild Horses, which sees the singer transformed into an ethereal mermaid who encounters a deep sea diver.
It's a lovely performance video with gorgeously crafted costumes, fabulous underwater photography, and at its heart, there's this tragic tale of a love that wasn't meant to be...
An impressively cinematic clip for Danish band Phlake, shot in Cape Town by Sashinski for their song Pregnant, starts with the tension of a bank robbery, and then flashes back to the same man behind the motorcycle helmet, working as a cook at a diner, then meeting and falling for a newly-employed waitress.
After a steamy romance, the pair move in together and the waitress falls pregnant, and the pressures begin - especially as it coincides with him being laid off work. Which then brings us back to the bank robbery which starts the video...
Craig Moore follows up his superb rollerskating extravaganza in Sigala's Sweet Lovin' with an equally trick-heavy spectacle for Tiggs Da Author's Run, featuring singer Lady Leshurr.
This time - instead of staging contortionist feats, rollerskating pirouettes and BMX tricks - Moore captures the awesome, ridiculously risky world of South Africa's car spinning stuntmen. There's some really breathtaking tricks performed here.
Sing J. Lee and his expert colorist paint an almost unspeakably beautiful scene for Birdy and fellow Brit Rhodes as they sing somewhere in the Scotland countryside.
"This more than just a minor hobby. In fact, this is a life. In fact, this is a family."
And this is more than a music video: It's a devilishly clever set-up that lulls you down a gritty, yet strangely dreamlike street thuggery, before hitting the country where we realize that we're getting sky high with one hell of a drug. And then, SNAP, we're back again, as the lines between filmmaker and actor, particpant and viewer, fantasy and reality, gravity and sanity.
