For partners in life and art, King She, style and substance is the key to making watchable films that also move the dial. Drawing on their backgrounds in anthropology and journalism, the Somesuch directing duo shine a light on authentic human stories and the human condition - with all its innate pain, injustices and underrepresentation - with flair and confidence. Two examples? Their debut film, Rare: The Boy Who Cried Swag, which looks at systemic racism through the lens of fashion; swathing a serious message in stylish layers, dripping with bling. And their latest music video, Tanto, articulates the journey of Cuban-American singer Cassie Marin who lives with an autoimmune disorder that impairs her body's ability to eliminate toxins. And now with three award-winning commercials for Apple Music and eBay already under their belt, King She’s reign looks to be long and fruitful

With familial ties to Spain and Japan, a London upbringing and a love of punk and techno, director Pedro Takahashi has a wider array of influences than most. He’s made a name for himself taking artists with buckets of stage presence and creating music videos that impress not only in their dynamic energy but also in their slick editing and ambitious cinematography. Fresh from his new project with Sam Akpro, the director tells us about learning from experienced directors, the challenges of perfectly replicating a 360-degree camera move, and finding inspiration in the dichotomies of the modern world.

Directors Vedran Rupic and Tom Noakes team up with exec-producer Tom Berendsen to launch Business Club in London

Six + 1 = an amazing total of visual music wonders

For most of us, there’s no magic to be found in routine, normality and the day-to-day realities of life; but director Elliott Power has a delightfully different perspective – one that’s dedicated to elevating the everyday. A modern multi-hyphenate creative, he’s exchanged the tools of music and song for film and a camera, embracing a high/low aesthetic with a self-proclaimed naivety for how things should be done – all of which adds up to a fresh and original vision. From documenting emerging skate culture in Ghana to capturing the mood of modern British teens, he tells 1.4 how inspiration finds him – not the other way round

Combine a studio full of the weird and wonderful artwork of Studio Job with the shining beacon of performance fashion that is MIKA, and you’re bound to have something fabulous - and this is exactly what we find in the new music video from director Chris Turner, AKA Favourite Colour: Black. A playful approach to scale and a vibrant colour palette work together to give the perfect “kid in a candy store” feeling to the new track. 1.4 catches up with the director about collaborating on production design, the challenges of a one-day shoot, and the sculpture he would have liked to have nabbed

It was all wonderful - the talks, the parties, meeting old and new friends and of course the work.

Stunning, heart-breaking, positive film work speaking out to humanity and raising consciousness around the world

We’ve all stood at the shoreline and idly skipped a stone – getting in one, maybe two hops across the surface before the rock sinks like a… well, you get the picture. But what if it had carried on? Where would it ultimately end up? In a new video for the Chemical Brothers, CANADA director Pensacola takes this intriguing idea and runs with it – following a humble stone skipped by world champion Kurt Steiner as it takes on a life (and conscience) of its own, embarking on an incredible inter-dimensional journey in a quest to do good. Seamlessly fusing eye-popping VFX with masterful camerawork, it’s the sort of offbeat, high-energy filmic yarn that we’ve come to expect from a director who’s played Honey I Shrunk The Kids at a kebab stall and taken Eric Cantona on an epic journey through the history of the beautiful game. He talks to 1.4 about the power resetting-properties of music videos - and why he’ll never look at a stone in the same way

Around the world stories, dance dance dance, and Teezo gets nailed.

All about love in one form or another

From glamorous, all-guns-blazing gore-fests, to animated political polemics, director Lado Kvataniya’s genius lies in his ability to move effortlessly between different genres and themes – responding to the different realities he encounters through films that shock, move and make us question the status quo. His latest work, a poetic rumination on family, love and loss, has taken him in yet another new direction – back into his own history and Georgian roots. He tells 1.4's Selena Schleh about preserving the values of his homeland and why following a familiar path isn’t for him

International commercials directed by a German duo, one Frenchman, a Swedish collective and three Aussies.

Directing duo Ryan Burnham and Luke Robson are the wizards of the CGI world, conjuring up wild graphics and spinning quirky ideas into punchy viral commercials and sketches. Fresh from signing with AOI.Pro Global in Japan, 1.4 catches up with The Berry Boys about growing up together as 90s kids, working with Chelsea FC for their latest spot, and the relief of truly being able to “do it in post”.

Skilled across various formats with a particular love for shooting on film, Los-Angeles-based director Ramez Silyan has demonstrated a knack for music videos with a dark yet absurdist streak. 1.4 catches up with the director about an obsession with Kafka, the importance of practical effects, and the joy of shooting in Scotland.

Creative duo Aus and Marleaux, a.k.a. ILLIMITÉWORLD, confidently deconstruct the boundaries between disciplines and art forms to forge a style uniquely their own. Inspired equally by music, fashion, photography, filmmaking (the list is virtually endless), ILLIMITÉWORLD has grown bigger than the duo alone to encompass a collective that spans Los Angeles, Baltimore and Paris - an unusual cultural trifecta that infuses their output with an almost indefinable, yet coherent, tonality. With a raft of promos to their name, an ongoing collaboration with musicians Paris Texas, and commercial work for the likes of Adidas, Meta and Google, their star is definitely ascending. Stephen Whelan had the pleasure of delving into the minds of Aus and Marleaux to get a flavour of their world.

Visual playlist to play over and over

Hailing from China’s Uyghur Autonomous Region - the meeting point of Asia and Europe – it’s fitting that rising filmmaker Luo Jian fuses a sense of East and West in her dreamlike narratives. Exploring weighty topics like abortion and loss with a feather-light touch, she weaves her modern fables of magical surrealism from the threads of a rich cultural heritage, combined with a future-facing perspective. From her graduate masterpiece What Do You Know About The Water And The Moon to beautifully-crafted branded films for Mercedes, Nestle and Sprite, Luo’s striking visuals - a giant goldfish hovers outside a window, a woman gives birth to a jellyfish, a singing idol catches a ghostly glimpse of his younger self – remain floating on the retina long after the films end - much like a half-remembered dream.

The art of stop-motion animation is a delicate dance of precision and patience, made possible through the careful manipulation of malleable. As if this technique was not a challenge enough in and of itself, Masashi Kawamura’s directorial debut uses hand-crafted wooden Samurai warriors to create an action-packed short inspired by the enigmatic legacy of Hidari Jingoro, the much-fabled 17th-century sculptor. Kawamura sits down with 1.4 to discuss the progress of the HIDARI feature film, the secret behind exploding sawdust, and how he approached fight sequence choreography with such a wooden cast.

As a Midlander living in London – too Nigerian to be British, too British to be Nigerian – Samona Olanipekun has always occupied a slightly awkward space, never truly fitting in. But as a filmmaker, he’s turned this outsider status to his advantage – becoming a keen observer of humanity. Equipped with a unique cross-cultural perspective, he’s now intent on exploring some of the biggest issues in modern life - migration, the climate crisis, racism and mental health – through films that straddle multiple genres and formats. He tells 1.4's Selena Schleh why politics and identity are inseparable, and why he’s happiest playing around on the edges

Funding rehabilitation through abstinence is at the centre of the ABR Trust’s work. Director Anyrin’s thought-provoking spot builds a scene of “euphoric geriatrics” to pose the question: where do young junkies end up? 1.4 chats to the director about returning to collaborate with ABR founder Chip Somers and building atmosphere through layered soundscapes.

The genre that just keeps on giving brilliance

If you’ve seen Higher, the latest music video from hot new directing duo WAXXWORK (aka Timothy Casten and Vikesh Govind), you’ll almost certainly have got up on your feet, thrown your hands in the air and headed to your nearest warehouse rave… or the kitchen disco - such is the power of its perfect match between visuals and track. Tracing the history of euphoria through the ages, it’s a visual hymn to club culture and the sheer joy of losing yourself on the dancefloor – but at the same time, a technical masterclass in deploying AI behind the scenes, in a way that enhances, rather than dominates. Inspired by the surreal and the subconscious, the duo’s mix of influences, styles and stories make for messy hard drives but phenomenal creativity – and they’re just getting started

With a background in dance, Nigerian-born, Maryland-based director Nora Chinwe uses music and movement alongside a vibrant colour palette to bring life to her short films and music videos. 1.4 catches up with the director about finding inspiration in Nigerian music, the symbolism of face-coverings and the trials of losing footage.

Music films that make the world go round and round

Cooks. Cleaners. Physical therapists. Taxi drivers. From brushing teeth to driving between endless hospital appointments, family caregivers are a silent army of selfless heroes, providing round-the-clock support for their loved ones. And yet, for the most part, their tiring (and tireless) work goes unnoticed, carried out behind closed doors. To shine a much-needed light on the challenges carers face day in, day out – and the vital importance of their role – journalist-turned-director Jennifer Roberts trained her lens on ten families for an entire day and night. The result? A moving – yet never mawkish – tribute to one of the hardest jobs in the world. Roberts tells 1.4's Selena Schleh why 24 hours was the only way to do justice to the stories – and how she did it

Sigur Rós invited ten filmmakers to explore their own visual interpretation of a track on the band’s new album ÁTTA. Refreshing and diverse in outcome, this experiment in creative freedom led to ten entirely different videos, and in turn, will platform a range of creators from a range of backgrounds.

Well worth waiting for and there's more stunning top of the game videos to come.

Visual album “La Hora de Perrear” celebrates all things Miami-Dade County, with the iconic chonga culture at its very centre. Directors Geoff Sean Levy and PAPO teamed up for this project that allowed them to explore their Cuban roots while visually representing “one giant inside joke” for the community of South Florida. 1.4’s Becca Nichols caught up with the two directors about the joys of collaborating, working in extreme heat, and the particular nostalgia of gas-station croquetas.