Dawn Shadforth does it again! Creating another standout performance from the Hurts lads. This comes as the third collaboration from the pairing, following 'Wonderful Life' and 'Lights'.
Dawn Shadforth and HURTS reunite for this very special collaboration. From Hunger Magazine, "The artful visual for “Lights” depicts a surreal late night scenario, the dark atmosphere and twisted nature of the protagonists lifted by dreamlike dance routines – a first for the band’s lead singer. It’s a mesmerising string to their bow in the lead up to the highly-anticipated third album."
A game of hide-and-seek with George Ezra filmed over two days at Cornwall, UK's lush Eden Project eco-attraction. Riff Raff’s Ben Reed has created a beautifully simple and subtle video for George Ezra’s latest track “Barcelona”.
Ben Reed, director: "We wanted to make something that was as soothing and sweet on the eyes as the song is to the ears. An effortless video that just drew you in. I'd been playing a lot of Where's Wally online and watching old David Attenborough episodes and thinking about the time that Coppola directed a movie from a jacuzzi. So we photographed him singing from hundreds of metres away on a giant zoom lens in the tropical environs of the Eden project. We were going to dress him as various plants and hide him, but it felt too outlandish, so we made him fly instead, because everyone should."
Greg Davenport heads to Kiev to shoot a beautiful video, profiling a variety of relationships in considered vignettes, embedded with a tender performance by Seafret.
A slyly post-modern video that might not change the world, but should keep you engaged as Swim Deep singer Austin Williams navigates a surreal backstage environment in search of meaning (or, maybe just in search of a green screen).
A strange lunch date with death himself that veers from smoky to sexy to surreal... Here's hoping it's not an invitiation to that 27 Club.
Calum Macdiarmid, director: “The 27 Club video was inspired by my obsessions with vintage wet plate photography and the visual aesthetics of French New Wave cinema. I wanted to create a film that was all about bold compositions and manipulation of shadows, so shooting in black and white felt like the most natural fit.
Chloe was a total gift. She was so committed to the concept from the get go. Even the pigs' brains and ants didn’t seem to phase her. Which was lucky given that the ants didn’t always behave themselves, scuttling away, trying to avoid the light, as soon as we put them on Chloe. They weren’t shy about reappearing all over us long after shooting had wrapped though."
Listen to the man. Especially when that man is Sir Ian Mckellen, who proceeds to (not) ruin a video by (not) upstaging Sir (not) George Ezra in a swinging update of the "You Can Call Me Al" model.
