It's all or nothing with Tobe Nwigwe and Labrinth
Tobe Nwigwe and Labrinth turn the California desert into a dreamworld in All Or Nothing video from Untold Studios.
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Some music videos sell the track. All or Nothing builds its own universe.
Directed by Tobe Nwigwe and FILFURY, and produced by Untold Studios and TUNL, this is not a conventional music video. It is a fever dream with a pulse: part short film, part contemporary art piece, part family monument. The California desert is more than a location - it becomes the film’s shifting mythology, transforming from ocean to battlefield to family.
At the heart of the project was a shared ambition between Nwigwe and FILFURY to create something with permanence. Not content. Not campaign noise. A visual object that could sit inside the universe Nwigwe has been building for years, rooted in faith, family, resilience, legacy and iconography which doesn’t disappear with a scroll.
The film is built on contrast. Huge, unforgiving landscapes sit against small human gestures. Surreal VFX collides with grounded performance. Explosions drift through the background while the emotional core stays locked on family, devotion and survival.
One of the video’s most striking sequences places Nwigwe and Labrinth in a wooden canoe stranded in the desert. The boat was captured practically on location, while Untold Studios extended the world around it in VFX, creating the surrounding water through a combination of traditional VFX craft and generative AI workflows. The result is deliberately uncanny: a miracle, a mirage, a metaphor.
Elsewhere, Nwigwe and Fat Nwigwe perform from isolated phone booths as sand moves around them and distant blasts rupture the horizon. Another sequence transforms a stripped-back desert setup into a vast, ethereal cloudscape around Labrinth, pushing the film further into dream logic without losing the rawness of the performances.
Credits
View on-
- Production Company Untold Studios/Los Angeles
- Director Filfury
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Credits
View on- Production Company Untold Studios/Los Angeles
- Director Filfury
- Production Company TUNL/New York
- Color Company 3/New York
- Producer Caroline Gluck
- Director/Creative Director Tobe Nwigwe
- Executive Producer Ashley Champ
- Executive Producer Steve (Sweatpants) Irby
- Executive Producer Annie Ayres
- Producer Ade Macalinao
- Production Designer Maya Sassoon
- Art Director Lina Celik
- DP Derek Zhang
- Editor Ryan McKenna
- Colorist Matt Osborne
Explore full credits, grab hi-res stills and more on shots Vault
Credits
powered by- Production Company Untold Studios/Los Angeles
- Director Filfury
- Production Company TUNL/New York
- Color Company 3/New York
- Producer Caroline Gluck
- Director/Creative Director Tobe Nwigwe
- Executive Producer Ashley Champ
- Executive Producer Steve (Sweatpants) Irby
- Executive Producer Annie Ayres
- Producer Ade Macalinao
- Production Designer Maya Sassoon
- Art Director Lina Celik
- DP Derek Zhang
- Editor Ryan McKenna
- Colorist Matt Osborne
The project shows what happens when emerging creative technology is treated as a tool, not the headline. The AI and VFX work do not flatten the image or take over the idea. They stretch what was captured in-camera into something stranger, grander and more mythic.
FILFURY said: "All or Nothing arrived as a song that demanded something more than a conventional music video. Tobe has always built a visual world around his music and bringing Labrinth into that world meant the visual language had to match the sonic one. The brief was to create something surreal, symbolic and design-forward. A film that felt less like a promotion and more like a cinematic keepsake. The desert setting felt right immediately. Open, elemental, a landscape where you can place a boat in the sand and it doesn't feel wrong. It feels necessary."
Pulling it off in a single shoot day meant the team had to move with military precision and creative elasticity. Each setup was designed to work as its own standalone image while still forming part of a bigger emotional arc.
Rather than shrink the ambition to fit the schedule, the team used practical production, VFX and new creative technologies to protect the scale of the original idea.
FILFURY added: "We built the visual language around six distinct scenes, each functioning as a standalone image but flowing together as a coherent journey. The challenge was honouring the ambition of Tobe's vision while remaining production-focused about a single desert shoot day. Rather than compromise, we found creative solutions. Every decision was about preserving the spirit of the idea, not diluting it."
The film’s final image lands like a statement of intent. As the camera pulls back, Tobe and Fat Nwigwe are revealed surrounded by the entire Nwigwe family, gathered around a Joshua tree in the desert. It is a living family totem, a monument to lineage and love, and the emotional anchor of the whole film.
In All or Nothing, the desert does not stand for emptiness. It becomes a place of transformation. A place where faith, family and imagination turn dry land into water.
