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The largest surprise the film industry has witnessed in 2025? The resurgence of horror as a dominant force at the British cinemas.

As a style, it has notably outperformed previous years with a 22% year-on-year increase for the UK and Ireland film earnings: over £83 million this year, versus £68,612,395 in 2024.

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

The big hits of the year – Weapons (£11.4m), another hit film (£16.2m), The Conjuring Last Rites (£14.98 million) and the sequel to a classic (£15.54m) – have all stayed in the multiplexes and in the audience's minds.

Even though much of the professional discussion focuses on the unique excellence of certain directors, their triumphs point to something shifting between moviegoers and the category.

“Many have expressed, ‘You should watch this even if horror isn’t your thing,’” explains a head of acquisition.

“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 indicates they are giving moviegoers something that’s greatly desired: therapeutic relief.

“Right now, there’s a lot of anger, fear and division that’s being reflected in cinema,” says a horror podcast host.

“Horror films are great at playing into people’s anxieties, while at the same time exaggerating them. So you forget about your day-to-day anxieties and focus on the monster on the screen,” says a noted author of horror film history.

In the context of a current events featuring war, border tensions, far-right movements, and environmental crises, supernatural beings and undead creatures connect in new ways with viewers.

“It’s been noted that vampire cinema thrives during periods of economic hardship,” states an star from a popular scary movie.

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

Since the early days of cinema, social unrest has influenced the genre.

Scholars point to the boom of German expressionism after the WWI and the chaotic atmosphere of the 1920s Europe, with films such as early expressionist works and the iconic vampire tale.

Later occurred the economic crisis of the 30s and Universal Studios’ Frankenstein and The Wolfman.

“The classic example is Dracula: you get this invasion of Britain by someone from eastern Europe who then causes this infection that gets spread in all sorts of ways and threatens the Anglo-Saxon heroes,” notes a historian.

“So it reflects a lot of anxieties around immigration.”

The boogeyman of immigration inspired the newly launched folk horror The Severed Sun.

Its writer-director explains: “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 celebrated, politically engaged fright cinema started with a sharp parody released a year after a polarizing administration.

It ushered in a fresh generation of horror auteurs, including various prominent figures.

“It was a hugely exciting time,” says a creator whose project about a murderous foetus was one of the era’s tentpole movies.

“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: “During the past decade, viewers have become more receptive to such innovative approaches.”

Simultaneously, there has been a revival of the genre’s less celebrated output.

Recently, a new cinema opened in the capital, showing cult classics such as The Greasy Strangler, The Fall of the House of Usher and the late-80s version of the expressionist icon.

The renewed interest of this “raw and chaotic” genre is, according to the cinema founder, a straightforward answer to the calculated releases pumped 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 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 challenge the norm.

“They have this strange ability to seem old fashioned and up to the minute, both at the same time,” notes an authority.

In addition to the re-emergence of the insane researcher motif – with two adaptations of a literary masterpiece imminent – he predicts we will see fright features in the coming years responding to our present fears: about artificial intelligence control in the near future and “supernatural elements in political spheres”.

In the interim, a religious-themed scare film The Carpenter’s Son – which narrates the tale of holy family challenges after the messiah's arrival, and features famous performers as the divine couple – is scheduled to debut later this year, and will undoubtedly send a ripple through the Christian right in the United States.</