Reflecting on the best trailers released in 2020 feels at once vital and torturous – would we have reacted differently upon first viewing, had we known we might not actually see these films for months, or even years in some cases? The film industry soldiers on and rides with the blows, so we sit tight at home while we wait to enjoy so many movies on the big screen. Then, all we have are the morsels of footage strung together to whet our appetites months and months ago.
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In some instances, these are mini-masterpieces in themselves, a showcase of all the dizzying talent sure to expand and bloom across 90 minutes or more. In others, it’s a chance for us to discover yet another breathy cover of a dad-rock classic, or a classical spin on a noughties pop anthem. Either way, seeing our favorite movie stars in motion against whichever satisfying needle drop works best will never lose its thrill. And in our silver screen-starved reality, we should probably champion these trailers with everything we’ve got.
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On that note, here are our official Best Trailers of 2020. While in normal times, we might say these were chosen subjectively, the year that we’ve had means that, well, we wish you luck in finding any other footage that actually has come out this year. Still: there is no denying the might, the strength, the talent on offer here – and thank god for the rewatch button.
Click here to follow along with our various Best of 2020 lists.
“Dune”
There was never any doubt that the first glimpse of Denis Villeneuve’s “Dune” was going to be an event. The filmmaker is the master of epic cinema, and with his forthcoming adaptation of Frank Herbert’s sprawling sci-fi novel, it’s set to be his biggest event yet. The trailer introduces Timothée Chalamet as Paul Atreides, heir to a mysterious and lethal universe – and does so with tremendous drama. There are too many instantly classic line readings to count (Although “What’s in the box? Pain.” stands out), and the all-star cast including Oscar Isaac, Rebecca Ferguson, Zendaya, Charlotte Rampling, Jason Momoa, and so many more all look severe and dedicated like never before. Add to that a grandiose cover of Pink Floyd’s “Eclipse,” and you’ve got yourself the most momentous cinematic event of the year – and the actual film isn’t out for another 12 months, at least.
“The French Dispatch”
Wes Anderson effortlessly switches between short- and long-form cinema at the best of times, and so for his love letter to journalists structured like a matryoshka doll of several stories, he lets the trailer introduce his many, many key players in bite-sized glimpses of what we can look forward to. The trailer blends visual and sonic styles– Elisabeth Moss poses in front of a yellow-washed blackboard while Timothee Chalamet plays chess in a monochrome Paris. There are romanticism and a reassuring familiarity, seeing Anderson staples including Tilda Swinton, Adrien Brody, Bill Murray, and more. Still, there’s also a thrill seeing how well newcomers like Benicio Del Toro and Jeffrey Wright fit in. The filmmaker underscores it all with a swirling cover of “Aline” by Christophe, giving this relic a sense of nostalgia, without ever feeling out of touch. It’s hardly shocking for a Wes Anderson film – but it’s so reassuring to see we have something so reliably solid to look forward to.
“Mank”
If nobody told you “Mank” was a film made by David Fincher in 2020, you’d be forgiven for thinking the teaser belonged to the 1940s. Gary Oldman topples over bottles, Tom Burke as Orson Welles urges him to finish his screenplay. The ominous and stylish teaser for the “Citizen Kane” origin story thrusts the viewer back into the dusty period in which it was made, as every modern-day actor puts on their best Old Hollywood voice and Trent Reznor and Atticus Ross do their utmost with a strings-led score to keep this a sophisticated affair. There are none of the juddering electronics of “The Social Network” or the gnarly guitar of “Fight Club” – this is Fincher like never before, and it all starts with the teaser.
“Saint Maud”
A24’s trailer for one of the best horrors of this year, “Saint Maud,” capitalizes on the slow-build horror found in the sound design of Rose Glass’ debut, particularly with Morfydd Clark’s wickedly unsettling voiceover as the title character. But they also found a perfect modern-day pop avatar in Billie Eilish, like a reworked version of her woozily good single ‘All the Good Girls Go to Hell’ sets the pace for the second half of the preview. Hurricanes swirl in pint glasses, the spikes in Maud’s trainers sound like daggers, bodies levitate, and screams are full-body. This is a visceral, sensual experience – perfectly teased in a horrific two minutes.
“The Green Knight”
It’s time to meet your savior. In red gothic letters, we are told that this takes place “in a time when honor was everything, when course made kings.” Dev Patel is sat on a throne, and his head is burning. David Lowery gives medieval royalty a horrific spin – the trailer certainly evoking shades of Ari Aster’s “Midsommar” – while also capitalizing on its leading man’s king-like physique. The plot remains opaque, but the folkloric imagery and bone-chilling sound design already build up sky-high anticipation for A24’s latest – whenever the world might finally let us see it.
