Whether it's games, music videos, short films or short funny ads, Studio Birthplace directors Jorik Dozy and Sil van der Woerd's mission is to tell critical stories in unique ways to create awareness and inspire change.

Despite being the scion of a filmmaking family, Natalie Rae avoided directing for a long time – but eventually the pull was too great. And thank goodness for that, because her work – which moves seamlessly between music videos, documentaries and commercials – is rich in all the contradictions and complexities of humanity. In PLAY NEW, her latest spot for Nike, she’s dug deep into Korean culture to challenge established norms and bring back the sheer exhilarating joy of sport – and all from a hotel room. She talks to 1.4 about finding inspiration in kitchen dancing and why she’s determined to avoid being typecast.

The message is the medium

Hitting the sweet spots with humour, horror and harmony

Self-taught talent Franck Trozzo Kazagui has turned his ‘constant outsider’ status into a burgeoning career in visual storytelling. Inspired by the incredible creative energy of Berlin, the fledgling director has already trained his lens on a wide-ranging array of projects, including the wacky tale of a scientist generating cult sneakers from citrus power, and a dynamic passion project exploring the possibilities of movement. He talks to 1.4 about working with a thousand lemons and why he’s happy taking a slower road to success

Seven of this season's favourite films from high street to high fashion

Stunning music and film fo roll through the weekend

Watching the work of Ukrainian director Michael Zvegintsev is like boarding a train to a destination unknown. It’s unsettling, surreal, and a little bit thrilling at the same time, as the scenery changes from familiar to alien and back again. Sooner or later, you start to wonder: is it actually about getting there, or simply enjoying the ride? The creative-turned-self-taught-director certainly revels in giving the viewer an experience to remember, whether it’s a mysterious migration through the woods or a purple blob taking over an art gallery. He tells 1.4 why making a film is like baking a pie (clue: it’s in the layers).

Despite only recently making the leap from creative to director, Chloe Askari Pope’s debut film feels like the work of a much more established talent. An intimate and sympathetic portrait of loneliness in old age – a fate we all fear – and a simultaneous tribute to human spirit and resilience, Órla and the fish shows us the magic in the mundane. Off the back of her 1.4 Silver Award win, Pope talks to 1.4 about inspiring Iranian puppetry films and why there’s creativity to be found in everyone

Spinning the stunners from recent weeks

1.4's top of the spots

Possessed of a strong artist’s aesthetic, it’s no surprise to discover that New Zealand native Jason Bock began his career as a painter before segueing into filmmaking. More creator than director, his work blurs the boundaries between music video, documentary and commercial, taking the viewer on a round-the-world trip through beautifully constructed narratives about far-flung destinations and cultures. With his globe-trotting temporarily grounded by the pandemic, he chats to 1.4 about the importance of feeling your own work, Balinese demon queens and finding utopia in a nudist colony

Levitating rocks, cannibal slavers and a man muttering ‘spices, spices, spices’ while carrying a huge egg strapped to his back – welcome to the unsettling and utterly compelling world of Chino Moya. A master of surrealist dystopian sci-fi storytelling, the Black Dog director draws on a range of diverse influences, from his upbringing in the ‘liminal historical period’ of post-Franco Spain, to vast arid landscapes, the work of surrealist artist Giorgio de Chirico, and ‘70s album iconography. Returning to the world of promos after his feature film debut, Undergods, he talks to 1.4 about his early introduction to the horror genre and why he’s drawn to explore capitalist nightmares 

Set underneath a bridge, on the outskirts of Amsterdam during the hot summer of the pandemic, Jak O’Hare’s short film captures the genuine conversation between two strangers about life, uncertainty, dreams, vulnerability, and also trust and faith.

A creative polymath from a young age, writer-director Caleb Slain’s career has been defined by one constant: endless variety. From shooting big-brand commercials and music videos to creating an experimental writing app and dabbling in virtual reality with Eminem, his is a talent that refuses to be pigeonholed. His latest film, the 2021 Oscar-qualified short, enough., is a case in point: ten years in the making, it’s a ‘musical cinematic endeavour’ about a Black teenage boy coming of age in America, using interviews captured over a decade. He tells 1.4 about being predestined to become a filmmaker, and why he enjoys leaning into the hurricane.

This past year has been tough for parents: corralled with the kids, trying to hold down jobs while simultaneously home schooling and desperate for some peace and quiet, is it any wonder that strictly policed time on the tablet has become a little more… elastic? Not so for directing duo and brothers Michel & Nico, who challenged their offspring to go an entire month without screens, and captured the journey on film. Moving, lyrical and beautifully crafted, it’s a hymn to a more carefree era of life en , independence, grazed knees, and kids simply being kids – and a worthy winner of a 1.4 Award. 1.4 caught up with Michel to chat about the directing journey of the ‘nobodies from nowhere’ and what it’s really like to work with your nearest and dearest

When life gives you grapes, what do you do? Well, if you’re Nick Ball, you turn it into a beautifully crafted film for Simi wine. A classic coming of age narrative, The Untold Tale of Isabelle Simi follows the epic struggles of a feisty young woman, who takes over a Californian winery in the midst of the 1918 flu pandemic and overcomes family tragedy and Prohibition era constraints to become a winemaker extraordinaire. The director talks to 1.4 about false starts and parallels between pandemics.

Brazilian directing duo ALASKA have never made it to the chilly northern state that inspired their name, but they’ve gone on plenty of imaginary journeys through their fantastical films instead. Whether it’s jaw-dropping CGI worthy of a Marvel franchise or Gondry-inspired ‘conceptual in-camera crafty effects’, they’ve brought their sunny São Paulo dispositions and directorial flair to everything from big-brand ads for the likes of their latest for Mexican beer Victoria, Facebook, easyJet, Pepsi, and Samsung, to music videos about tiny humanoid robots or metamorphic mutants. They tell 1.4 how filmcraft is a vehicle for their craziest thoughts and why they plan to burn all big corporations to the ground. Just don’t tell Amazon.

With a visual style that blurs commercial aesthetics, lyrical storytelling and pure documentary, interdisciplinary filmmaker and producer Eloise King is part of a new wave of creative polymaths flowing between different spaces with ease. From institutional and structural racism, cultural turning-points, the Black liberation movement and gender violence against women, her work seeks to centre marginalised perspectives with authenticity and empathy. With the release of her latest ad for Barbie – an uplifting paean to the potential of young Black girls fronted by Clara Amfo – she reflects on why the next generation needs space to simply be themselves.

Front row seats for our favourite runway collections and yes we know it's so last season but we love it so - Miu Miu's Women's Tale of Parisian confinement, In My Room

Growing up in rural France as the daughter of a bohemian intellectual mother, director Lesly Lynch was ashamed of her mixed-race heritage, her sexuality and her sense of ‘otherness’. But after a childhood spent trying to conform, she’s now set her sights on creating a new normal. Through her progressive production company, Space Cowboys, she’s filling the screen with queer, POC and non-binary talent, amplifying underrepresented voices, and driving change through the medium of film. Using movement and choreography like ‘brushstrokes on canvas’, and rich in dreamlike visuals and surreal symbolism, Lynch’s films celebrate difference, diversity and her enduring, childlike sense of wonder at the world. She tells Selena Schleh about practicing self-hypnosis as a child, swapping law for a life behind the lens, and why the trajectory of life is never a straight line.

Disturbingly the Syrian conflict has now been raging for ten years with more than 600,000 people killed or missing and over 13.7 million now living in internal camps or as refugees abroad.  Director Paul Nevison's  experiences of visiting a such a camp in Lebanon have haunted him ever since and are behind his latest film which captures the resilience and resourcefulness of Syrians trying to protect their families from the horrors of war and displacement.   

Born in Toronto, Canada but ‘made’ in South Africa, director Marc Sidelsky has established his comedy credentials with a slew of subversively funny films. From commercial spots for VW and KFC to a literal coming-of-age music video for Dearly Beloved’s ‘Close Encounters’, his work taps into seemingly infinite shades of humour reflecting his ecletic, genre-agnostic filmic influences. A detail-orientated director, Sidelsky’s meticulous eye for set design, casting and framing finds its ultimate expression in his 1.4 Award-winning spot for Shelflife: Stussy x Nike, a refreshing new twist on fashion advertising. He tells 1.4 why the biggest hurdle is winning his own approval.

More music and film to make the world spin

The world is a beautiful place when it's filled with sublime music and film

We at 1.4 think Women’s International Day should run throughout the year, particularly when there’re spirited spots waving the flag and raising the consciousness. But we’re not completely biased of course. We love great car ads and films that highlight the value of sport on mental health too.

A cinematographer by trade, Farhad Ghaderi has only made a handful of forays into directing but his deeply personal touch, lyrical storytelling and ability to coax authentic performances from his cast have already marked him out as a rare talent. Drawing on the ‘beautifully chaotic’ cultures of his Mexican-Iranian heritage as well as plundering his own memories, his films have family at their core: be it the love-hate bond between brothers, or intergenerational trauma seen through the prism of a mother-daughter relationship. He talks to 1.4 about the appeal of bittersweet narratives, balancing the creative demands of cinematography and directing, and removing the ‘artifice of filmmaking’.

Less is most definitely more in the craft of animator Rosa Fisher, who can conjure up an entire narrative in her trademark scribble, deftly conveying deep emotions and complex characters in a couple of pen strokes. A rebel at heart, she’s interested in challenging established norms and breaking out of the boxes that society tries to confine us in, using colour as metaphor and inventive sound design to celebrate individuality and question conformity – from the damaging tradition of boarding school to PE lessons. She talks to 1.4 about learning the power of simplicity and the delights of working with her father on her award-winning short film.

A stormy night. A ship at sea, tossed on towering waves. Below decks, the passengers are confined to their cabins, the babble of increasingly bad news from the radio their only link to the outside world. A rising sense of panic as the boat pitches and rolls, buffeted by the storm. And then, glimpsed through the porthole, a literal ray of light: the circling beam of a lighthouse, the promise of safe harbour. As a visual allegory for the events of the last year, Through The Storm – a new short film for Vogue Italia – is perfect, with Swiss directing duo Kim and Florine Nüesch deftly capturing the sense of dread, isolation and finally hope. Anchored by their trademark styling and detailed production design, it’s that rare beast: a fashion film with substance as well as style. The sisters tell 1.4 about working together as siblings, the realities of shooting in a pandemic and how coming from a long line of Swiss architects has shaped their detail-orientated approach.

As a young Muslim growing up in post 9-11 America, Bilal S. Haider was deluged by negative media portrayals and prejudiced narratives – a legacy that has now led him, in his filmmaking career, to focus his lens on the dehumanising impact of social stigma on individuals. Driven by a simple ideology to create, his intensely personal approach finds heartbreaking expression in The Prisoner’s Song, a chiascuro portrait of a prisoner’s attempt to reintegrate into society, and the barriers which linger long after physical shackles have been removed. He tells 1.4 how the visual intimacy of Islam influences his craft, and the importance of making films that speak to our shared humanity.

Argentina’s capital Buenos Aires, birthplace of Lucrecia Taormina, translates as ‘fair winds’ – an appropriate description of the talented photographer-director, whose bold, unapologetic approach is a real breath of fresh air in the world of music videos. Having stumbled into directing on a whim, she’s tackled such weighty themes as rampant consumerism and female empowerment, carving out a niche in dark narratives where body parts get traded for designer goodies and bloody revenge is meted out on useless boyfriends. Fresh from the release of a new promo for Steven Wilson, she talks to 1.4 about the importance of meticulous planning and why her subconscious always steers her to the dark side.