GUEST CURATOR: JULES WILEMAN

It's hard to pin down one specific music video that inspired me, but a stand-out is Hung Up. It evokes very fond memories of watching MTV on the television, and seeing countless different music videos back-to-back. I think this is where my love of music videos came from; there are no rules, so creativity has no bounds! For this video in particular, it was so exciting seeing such a celebration of the different dance styles, and the pink jumpsuit is iconic!

Sometimes, all you need is a simple idea executed perfectly, and I think the teams at MJZ and adam&eveDDB nailed it! It was quite novel to see a Christmas ad that wasn't jolly and festive, and the dark-humour genuinely gets a laugh from me every time. Of course, it's tied together with a gorgeous grade by Jean Clement and fabulous audio post-production by Factory Studios. I do hope Ray got hugged again...

This short film is a somewhat indulgent one to add, as I graded it...however, it's an important to me! Firstly, I got to work with the hugely talented Karen Anstee, who has been a family friend for as long as I can remember. Secondly, she is a huge advocate for having women in key roles during the whole production process, both in-front of and behind the camera. I've always really respected her, both artistically and for her dedication to making films with regard for sustainability, collaboration and diversity. This has influenced how I approach my work, and treating every project with the care and commitment it deserves.

I remember this film coming out and everyone was raving about it - for good reason! The blend of real-life plates and CG is really well done, and it perfectly encapsulates Burberry's heritage of being a pioneer and free-spirited. It's another great example of a clear idea executed brilliantly, whilst also pushing the boundaries for what you can do with practical effects in advertising.

I'm a big fan of Robert Eggers in general; his dedication to research and craft is really incredible. For Nosferatu, Eggers and Jarin Blaschke (DOP) worked with a custom mesopic filter which essentially diminishes yellows and reds, creating a washed-out blue, black and grey palette. However, it still allows some warmer colours through - such as orange - which meant the practical candle- and fire-light was still visible. All of this contributed to the overall ominous Gothic feeling of the film. The colour grade can often be forgotten, so it's quite lovely that Eggers was clearly considering the overall colour palette of the film from the get go.

In an era of AI-generated content, it's incredibly refreshing and reassuring to see something truly hand-made. Between the painted backgrounds, hand-drawn 2D animation, and recreations of 1960s techniques, The Mountain really feels like it's come from the heart - which is even more poignant considering the album itself is about loss and grief. It's also a great reminder to creators and audiences alike that giving artists time and creative freedom can lead to some truly beautiful and timeless work. You can feel the devotion and craft in every frame, and each tiny detail builds upon the emotion of the piece as a whole.

This piece was really lovely to work on; it was great to do another film emulation, using my set-up that's been perfected over the last few years. Of course, it's also a treat to do another collaboration with the wonderful editor Eden Read. I think we really nailed the feeling of intimacy - as though we're seeing a snapshot of Serena's life - rather than it being an explicit fashion piece. It's understated and gentle, and I'm really proud of my grade on this.

Jordan Achiano's performance is beautifully captured by Rui Jiang (R.J.) Ong, and encourages the audience to consider communication through physicality and dance. Forms of expression beyond verbal have been embedded across cultures for millennia, and is something that is deeply political. I always strive to work on pieces that have intent and meaning, so having the chance to collaborate with Aileen was a pleasure. Aileen is well versed in exploring contemporary cultures and resistance, with this film being no exception. As the film states, bodies cannot speak freely under surveillance, so the question is: what can the body say?

Shot beautifully by cinematographer Luke Dryden, Fōji captures the timeless craft of hand-forged knife making. Again, I find great inspiration and reassurance in the celebration human of creativity, and always love to be involved in these projects. This goes beyond the digital industry; there's something very special about artisan trades too, and how traditional skills are passed from apprentice to apprentice. It feels very fitting that a piece on knife forgery is shot on 16mm, an analogue format. It really conveys the time and care needed to create art, in whatever form that may be.