Just in time for the International Day of the Girl comes this joyful burst of positivity from a new visual project by the American organisation Girls Who Code, whose mission is to close the gender gap in tech.
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Oscar Hudson’s marvellous video for Loyle Carner manages to do something extremely rare these days – it references the old masters of music video direction, and then extends that vocabulary of visual wonder and make the seemingly impossible happen before your eyes.
Emilie Norenberg brings us a cool indie version of A Night At The Museum for Westerman.
The video for Albatross, by the London-based artist who has just released his new EP, Ark, was shot at Margate's Powell Cotton Museum, where it finds Westerman alone among a multitude of stuffed animals. The dynamic suddenly changes when one of the animals springs into life...
Andre Muir's video for the Mahalia's killer song Surprise Me captures the torment that comes with a fading relationship.
When Zuzu discovers that a big asteroid is hurtling towards Earth, she determines to take the necessary precautions, turning her bedroom into a shelter from impending catastrophe.
The splendidly-titled 1,000 Opera Singers Working in Starbucks by London trio Wovoka Gentle is accompanied by a suitably wacky cutout animation video created by Kate Woodland, entirely in the vertical format.
Young T & Bugsey head down to the circuit to test drive some of their favourite rides (mainly Mercedes) - and also ride their bikes - in KLVDR's video for En Route.
If only Top Gear was a bit more like this...
British-American director Derek Pike directs smooth, sophisticated, unfussy video for Rare by Canadian singer-songwriter Ruth B.
Myles Whittingham joins forces with DoP Stefan Yap to shoot a 4.3 with constant zooms on Kojo's new track PNG, featuring Giggs.
An original tragic-love-story for Elvis Costello's ballad Suspect My Tears – drenched in rain, ink and romance - by the animator Mustashrik.
A homage to film noir, it's a dark tale that traverses the emotions of jealousy and envy and devotion, and has the appropriate drama to match Costello's new ballad - which harks back to his early Noughties collaborations with Burt Bacharach.