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The biggest shock the cinema world has experienced in 2025? The resurgence of horror as a leading genre at the UK film market.

As a genre, it has impressively surpassed earlier periods with a annual growth of 22% for the British and Irish cinemas: over £83 million this year, compared with £68.6 million last year.

“Last year, no horror film reached £10m at the UK or Irish box office. This year, five films have,” comments a film industry analyst.

The top performers of the year – a recent horror title (£11.4m), another hit film (£16.2m), The Conjuring Last Rites (£14.98 million) and the sequel to a classic (£15.54m) – have all remained in the multiplexes and in the popular awareness.

Although much of the industry commentary focuses on the singular brilliance of renowned filmmakers, their achievements point to something changing between moviegoers and the category.

“I’ve heard people say, ‘Even if you don’t like horror this is a film you need to see,’” states a film distribution executive.

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

But apart from aesthetic quality, the steady demand of frightening features this year implies they are giving moviegoers something that’s greatly desired: catharsis.

“These days, movies echo the prevalent emotions of rage, anxiety, and polarization,” notes a film commentator.

“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 noted author of horror film history.

Against a current events featuring war, border tensions, far-right movements, and environmental crises, supernatural beings and undead creatures strike a unique chord with viewers.

“Some research suggests vampire film popularity correlates with financial downturns,” states an star from a popular scary movie.

“The concept reflects how economic systems can drain vitality from individuals.”

Historically, public discord has always impacted scary movies.

Experts point to the rise of early cinematic styles after the first world war and the turbulent times of the 1920s Europe, with films such as classic silent horror and the iconic vampire tale.

This was followed by the Great Depression era and iconic horror characters.

“Consider the Dracula narrative: an outsider from the east brings a corrupting influence that permeates society and challenges its heroes,” says a commentator.

“Thus, it mirrors widespread fears about migration.”

The phantom of immigration shaped the recently released rural fright The Severed Sun.

The creator clarifies: “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?’”

Maybe, the modern period of praised, culturally aware scary films commenced with a sharp parody debuted a year after a divisive leadership period.

It sparked a new wave of visionary directors, including various prominent figures.

“Those years were remarkably vibrant,” says a filmmaker whose movie about a violent prenatal entity was one of the period's key works.

“I believe it initiated a trend toward eccentric, high-concept horror that aimed for artistic recognition.”

This creator, now penning a fresh horror script, notes: “In the last ten years, public taste has evolved to welcome bolder horror concepts.”

Simultaneously, there has been a revival of the underrated horror works.

In recent months, a new cinema opened in a major city, showing underground films such as The Greasy Strangler, The Fall of the House of Usher and the modern reinterpretation of Dr Caligari.

The renewed interest of this “rough and rowdy” genre is, according to the theater owner, a direct reaction to the calculated releases produced at the theaters.

“It counters the polished content from big producers. The industry has become blander and more foreseeable. Numerous blockbusters share the same traits,” he states.

“On the other hand, [these indie works] feel imperfect. They seem to burst forth from deep creativity, free from commercial constraints.”

Fright flicks continue to disrupt conventions.

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

Besides the re-emergence of the deranged genius archetype – with two adaptations of a literary masterpiece upcoming – he anticipates we will see horror films in the coming years addressing our current anxieties: about tech supremacy in the near future and “monstrous metaphors in power structures”.

At the same time, “Jesus horror” The Carpenter’s Son – which narrates the tale of Mary and Joseph’s struggles after the messiah's arrival, and stars famous performers as the divine couple – is planned for launch later this year, and will undoubtedly create waves through the faith-based groups in the United States.</