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The largest surprise the film industry has encountered in 2025? The comeback of horror as a main player at the UK film market.

As a genre, it has notably exceeded past times with a 22% year-on-year increase for the British and Irish cinemas: £83.7 million in 2025, compared with £68 million the previous year.

“Previously, zero horror films made £10 million in the UK or Ireland. Currently, five have surpassed that mark,” notes a film industry analyst.

The major successes of the year – Weapons (£11.4 million), another hit film (£16.2m), the latest Conjuring installment (£14.98 million) and 28 Years Later (£15.54 million) – have all stayed in the multiplexes and in the public consciousness.

Although much of the industry commentary focuses on the unique excellence of prominent auteurs, their successes point to something shifting between audiences and the category.

“Viewers often remark, ‘This is a must-see regardless of your genre preferences,’” states a head of acquisition.

“These productions twist traditional elements to craft unique experiences, resonating deeply with modern audiences.”

But outside of creative value, the consistent popularity of horror movies this year suggests they are giving moviegoers something that’s much needed: emotional release.

“Currently, cinema mirrors the widespread anger, fear, and societal splits,” notes a genre expert.

“Scary movies excel at tapping into viewers' fears, amplifying them, allowing you to set aside daily worries and concentrate on the on-screen terror,” says a prominent scholar of horror film history.

In the context of a current events featuring conflict, immigration issues, political shifts, and climate concerns, supernatural beings and undead creatures resonate a bit differently with audiences.

“Some research suggests vampire film popularity correlates with financial downturns,” says an performer from a successful fright film.

“This symbolizes the way modern economies can exhaust human spirit.”

From film's inception, societal turmoil has shaped horror.

Analysts point to the boom of German expressionism after the first world war and the chaotic atmosphere of the early Weimar Republic, with features such as The Cabinet of Dr Caligari and Nosferatu: A Symphony of Horror.

This was followed by the Great Depression era and classic monster movies.

“Take Dracula: it depicts an Eastern European figure invading Britain, spreading a metaphorical infection that endangers local protagonists,” says a commentator.

“Thus, it mirrors widespread fears about migration.”

The boogeyman of immigration influenced the newly launched rural fright The Severed Sun.

The creator elaborates: “My goal was to examine populist trends. For instance, nostalgic phrases promising a return to a 'better' era that excluded many.”

“Secondly, the idea that you could be with someone you know and then suddenly they blurt out something round the dinner table or in a Facebook post and you’re like, ‘Where did that come from?’”

Perhaps, the modern period of celebrated, politically engaged fright cinema commenced with a brilliant satire launched a year after a polarizing administration.

It ushered in a new wave of visionary directors, including several notable names.

“That period was incredibly stimulating,” says a creator whose film about a murderous foetus was one of the period's key works.

“I think it was the beginning of an era when people were opening up to doing a really bonkers horror film which had arthouse aspirations.”

The same filmmaker, who is writing a new horror original, adds: “In the last ten years, public taste has evolved to welcome bolder horror concepts.”

Simultaneously, there has been a reconsideration of the overlooked scary films.

Earlier this year, a nicke l venue opened in the capital, showing cult classics such as The Greasy Strangler, The Fall of the House of Usher and the modern reinterpretation of Dr Caligari.

The fresh acclaim of this “gritty and loud” genre is, according to the cinema founder, a direct reaction to the calculated releases produced at the box office.

“This responds to the sterile output from major studios. Today's cinema is safer and more repetitive. Many popular movies feel identical,” he states.

“In contrast [these alternative films] are a bit broken. It’s like they’ve erupted out of someone’s subconscious and been planted out there without corporate interference.”

Fright flicks continue to challenge the norm.

“Horror possesses a dual nature, feeling both classic and current simultaneously,” notes an expert.

In addition to the revival of the deranged genius archetype – with multiple versions of a literary masterpiece imminent – he anticipates we will see horror films in the coming years addressing our modern concerns: about artificial intelligence control in the coming decades and “monstrous metaphors in power structures”.

In the interim, a religious-themed scare film The Carpenter’s Son – which depicts the events of holy family challenges after the nativity, and features famous performers as the sacred figures – is scheduled to debut soon, and will definitely create waves through the faith-based groups in the America.</