Creative Review: Trollbäck+Company’s Favorite Films of the Season
As Oscar night approaches, Trollbäck+Company’s top creatives took some time out of their busy schedules to give us some thoughts on their favorite films (both nominated and unnominated) of the 2018-2019 season.
Why throw our studio’s small hat into the wide world of Oscar punditry? Because in this industry, it’s important to stay inspired and up-to-date with what’s happening on both the big screen and small –– especially in a year where online giants like Netflix have finally started to break their way into the top tiers of entertainment.
Now, let’s see if the Academy agrees with our recommendations.
CCO Alex Moulton
Spider-Man: Into the Spider-Verse
Nominated for Best Animated Feature Film
I don’t have the words to express how taken I am with the creative animation techniques that went into making Spider-Man: Into the Spider-Verse. Every designer and animator that I’ve spoken to – regardless of their personal aesthetic – feels the same. It was a hugely entertaining movie, but from a design perspective, the film represents a stunning culmination of all of the technical disciplines and styles that were directly born from the motion design industry. It’s simply an incredible achievement.
ECD Elliott Chaffer
Nominated for Best Picture, Best Sound Editing, Best Sound Mixing, Best Film Editing, Best Actor
For one thing, Rami Malek’s performance was amazing. What also hit me was that I was a kid when everything in the movie happened. I don’t think I really understood all of the different dynamics going on within the group itself and between all these different bands at the time. I didn’t even really like Queen so it was weird to feel so connected to it. Just the scale of it and the culmination of their story is so powerful. When I watched it coming back from a recent trip to Barcelona, I was sitting in my plane seat just crying as it ended. It was a really brilliant, well put-together film.
ACD Erin Kilkenny
Sorry to Bother You
Like an episode of Black Mirror on amphetamines, Sorry to Bother You is a surrealist satire of the racist late-capitalist dystopian hellscape we all live in. It’s fantastical and funny and engaging the whole time, but never subtle. When it jumps the shark in the third act (no spoilers!) you find yourself contemplating whether a giant corporation would do THAT, and nodding that yeah, they probably would. It’s a movie that people either love or hate. I’m not entirely sure it’s my favorite movie of the year, but I think about it constantly.
AD Benjamin Nichols
Nominated for Best Visual Effects, Best Sound Mixing, Best Production Design, Best Sound Editing
First Man was an amazing visual experience. Watching it felt like a raw throwback and completely of its era, capturing the intensity of propelling someone into space. Only afterwards, I learnt they had mixed archival footage with VFX and shot many of the scenes in-camera to make the experience even richer. Themes of family, stoicism and relentless pursuit weave throughout, adding to the film’s beauty.
AD Sarah A. Cohen
Nominated for Best Picture, Best Original Screenplay, Best Cinematography, Best Costume Design, Best Film Editing, Best Production Design, Best Actress, Best Supporting Actress, Best Director
I loved this film because it was surreal and bizarre and beautifully shot, but mostly because I really want to meet the designer who got the end credit type design approved. I literally watched all the way through the end credits with my mouth wide open.
AD Nadia Husain
Rarely do I discover a movie that hits all the marks. Burning was just outrageous enough to be thrilling, yet totally believable. The characters were intriguing and quirky without being over-the-top. The shots were candid and beautiful. The score was haunting and minimal. The story was enthralling and completely unpredictable – I don’t think I blinked the entire film. Definitely a must-see.