Everyone’s becoming a movie fanatic. 2026 has been a great year for mainstream as well as independent films. From a film student perspective, there are so many things to appreciate about trends in recent filmmaking. Notably, sound design and scoring have elevated numerous films in my personal rankings. In no particular order, here are eight of my favorite tracks from recent movie scores.
Lakeith Stanfield in “I Love Boosters”
Pinky Ring Dude by TuneYards
“I Love Boosters” was like a never-ending fever dream in the best way possible, and this track perfectly encompasses what it felt like to watch this movie. “Pinky Ring Dude” was the recurring theme for the character Pinky Ring Guy and would always play when Lakeith Stanfield appeared on screen. A euphoric theme for this mysterious character.
Best Mini Me by Anna Drubich
Campy, witchy, over-the-top, “Forbidden Fruits” wasn’t well-received by the majority of the viewers, but the people who get it, get it. If you’ve ever played a GirlsGoGames mystery game, this track is going to feel very nostalgic, capturing that same innocent charm from the 2010s. “Best Mini Me” encapsulates the feeling of working in a fashion store with your witch besties perfectly.
Twintuition by Moses Sumney and Joseph Shirley
I love when composers incorporate the score as elements in the movie itself. “Is God Is” follows twin sisters Racine and Anaia, portrayed by Kara Young and Mallori Johnson respectfully, on their journey to end their father’s life. A fun element of twins is the idea of being able to communicate without speaking, also known as twin telepathy. The little clicks with hums heard in this track represent the conversation happening between the two protagonists telepathically.
Inde Navarette and Michael Johnston in “Obsession”
Obsession by Rock Burwell
This film needs no introduction. What stood out to me on my numerous rewatches of this masterpiece was how the score elevated every scene it accompanied, creating a haunting atmosphere that made this film as memorable as it was. The title track being no exception, “Obsession” sets the mood perfectly as a backdrop for this story.
Old Home Not Yet Built by Kane Parsons and Edo Van Breemen
“Backrooms” was able to capture the feeling of liminal spaces incredibly well with Kane Parson’s direction and set designs. His collaboration with Edo Van Breemen on the film’s soundtrack made for a compelling piece of cinema, and this track in particular feels exactly like describing a song to someone who’s never heard it before and asking them to reproduce it.
Skybridge Reprise by Hays Holladay, Ryan Holladay and Shannon Lay
Austin Abrams plays the “guy having a really bad day” trope really well; “Resident Evil” spins the video game series on its head, and instead of following an experienced operative, we’re stuck with a clumsy guy just trying to make ends meet who finds himself in a sticky situation. This track layers vocals performed by Shannon Lay, leading to an ominous yet hopeful theme that accompanies Abrams’ character.
National Epidemic by Ari Balouzian
A certified banger from A24’s “Primetime” that made it straight to my workout playlist. Ari Balouzain knows how to score a movie to keep viewers engaged. Along with being the composer of “Primetime,” his work was also recently featured in the 2026 documentary “You Can See Everything,” following Elizabeth Holmes and Billy Evans days before her eleven-year prison sentence. The track sounds very reminiscent of 2000s reality TV, as it layers vocals and a very distinct polyphony that slowly begins to feel distorted and off-beat.
Shot from “The Odyssey”
Troy by Ludwig Göransson
One of the best sequences in recent cinema was The Sack of Troy in “The Odyssey.” Ludwig Göransson used several instruments that were played in ancient Greece all throughout the score, but Troy in particular is a masterclass in sound scoring that had me on the edge of my seat for its entirety. It builds tension through increasingly urgent percussion and strings, creating a phenomenal track for this epic.