Laufey’s Madwoman video features celebrity cameos and retro pool-party glamour

Laufey turned “Madwoman” into a glossy celebrity tableau, casting Hudson Williams, Alysa Liu, Lola Tung and Megan Skiendiel of KATSEYE in a Slim Aarons-inspired pool-party fantasy that arrived just hours after her first live performance of the song at Coachella.

The video, released Monday, April 13, 2026, places Williams as Laufey’s love interest while Liu, Tung and Skiendiel play her friends, giving the clip the polished, ensemble feel of a mini-ensemble film as much as a pop rollout. The visual language leans hard into 1960s glamour, with sunlit surfaces, socialite references and an unmistakable cinematic sheen that invites comparison to Florence Pugh’s 2022 psychological thriller Don’t Worry Darling, which was set in an apparently idyllic 1950s company town and opened in the United States on September 23, 2022.

The timing was calculated. Laufey had just debuted “Madwoman” live for the first time on April 12 at Coachella, then pushed the official video into the spotlight the next day, turning the song’s launch into a tightly sequenced cultural moment. The track is one of four new songs added on her deluxe album, A Matter of Time: The Final Hour, which was released April 10 and extends the A Matter of Time era with a new layer of promotion.

Director Warren Fu worked with Gold House on the project and said the concept “reimagines the American Dream as something more diverse and inclusive.” That framing is central to the video’s casting and design, which pairs high-society imagery with a cast of young Asian and Asian-American celebrities. Filmed in Los Angeles in the weeks before Coachella, the clip uses retro luxury to project a broader cultural message, one that feels carefully built for social media circulation as much as for music fans.

The result is a familiar modern pop strategy taken to a polished extreme: the video is not just an accessory to the song, but the headline event around it. In Laufey’s hands, celebrity cameos, period styling and cinematic reference points become part of the release itself, blurring the line between visual branding and the music it is meant to sell.