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

As a style, it has impressively outperformed earlier periods with a 22% year-on-year increase for the British and Irish cinemas: over £83 million this year, compared with £68.6 million last year.

“Previously, zero horror films made £10 million in the UK or Ireland. Currently, five have surpassed that mark,” says a cinema revenue expert.

The top performers of the year – a recent horror title (£11.4m), another hit film (£16.2 million), The Conjuring Last Rites (£14.98m) and 28 Years Later (£15.54 million) – have all stayed in the multiplexes and in the audience's minds.

While much of the industry commentary centers on the unique excellence of certain directors, their successes indicate something shifting between viewers and the genre.

“Many have expressed, ‘You should watch this even if horror isn’t your thing,’” explains a film distribution executive.

“Such movies experiment with style and format to produce entirely fresh content, connecting with viewers on a new level.”

But beyond creative value, the consistent popularity of spooky films this year implies they are giving moviegoers something that’s much needed: catharsis.

“These days, movies echo the prevalent emotions of rage, anxiety, and polarization,” observes a genre expert.

“The genre masterfully exploits common anxieties, magnifying them so that everyday stresses fade beside the cinematic horror,” explains a prominent scholar of horror film history.

Amid a real-world news cycle featuring conflict, immigration issues, political shifts, and climate concerns, ghosts, monsters, and mythical entities resonate a bit differently with viewers.

“I read somewhere that the success of vampire movies is linked to economically depressed times,” comments an actress 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 European artistic movements after the first world war and the turbulent times of the 1920s Europe, with movies such as classic silent horror and the iconic vampire tale.

This was followed by the 1930s depression and classic monster movies.

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

“Thus, it mirrors widespread fears about migration.”

The specter of migration shaped the newly launched folk horror The Severed Sun.

Its writer-director clarifies: “I aimed to delve into populist rhetoric. Specifically, calls to restore a mythical past that favored a privileged few.”

“Also, the concept of familiar individuals revealing surprising prejudices in casual settings.”

Perhaps, the modern period of acclaimed, socially switched-on horror started with a sharp parody released a year after a divisive leadership period.

It ushered in a fresh generation of innovative filmmakers, including a range of talented artists.

“That period was incredibly stimulating,” recalls a creator whose movie 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.”

This creator, now penning a fresh horror script, notes: “During the past decade, viewers have become more receptive to such innovative approaches.”

Concurrently, there has been a reconsideration of the underrated horror works.

Recently, a independent theater opened in London, showing underground films such as The Greasy Strangler, a classic adaptation and the modern reinterpretation of the expressionist icon.

The renewed interest of this “rough and rowdy” genre is, according to the cinema founder, a clear response to the algorithmic content churned out at the box office.

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

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

Scary movies continue to upset the establishment.

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

Alongside the return of the mad scientist trope – with multiple versions of a classic novel on the horizon – he forecasts we will see scary movies in 2026 and 2027 reacting to our modern concerns: about tech supremacy in the near future and “supernatural elements in political spheres”.

Meanwhile, a religious-themed scare film a forthcoming title – which tells the story of holy family challenges after the nativity, and includes celebrated stars as the divine couple – is set for release later this year, and will definitely send a ripple through the faith-based groups in the America.</