Horror’s Renaissance period:

This year alone we’ve had some brilliant classic horrors like Zach Cregger’s Weapons and Bring Her Back, from Talk to Me duo the Philippou brothers, Danny and Michael.

The model works

Far from being a single category with a predictable formula, horror has become one of the most dynamic storytelling frameworks in film.

The way it intersects with other genres and is used as a plot tool within films that don’t fit the ‘typical’ horror cookie cutter is important – take lesbian action/suspense/thriller Love Lies Bleeding and its gory, trippy, hallucinatory bodybuilding scene and the giant monster that comes from nowhere (spoiler alert).

You can also play on its intersection with other genres to create more of a niche or a wider appeal – climate horror, body horror, supernatural horror, sci fi horror, thriller horror, psychological horror – you get the idea.

There are also the gateway titles with less big jumps or sleepless nights afterwards such as M Night Shyamalan’s Trap, and big-name fronted features – Sandra Bullock in Bird Box and Emily Blunt in A Quiet Place – that have meant horror has become more mainstream and is attracting more fans.

The shape of fear

What’s driving this resurgence? One major shift is the way horror evolves thematically through the decades. In culture terms, it’s a barometer for social fears and anxieties.

The genre no longer relies simply on jump scares, supernatural threats or blood and gore. It’s telling layered stories about identity, power, technology, gender, celebrity, and moral panic.

These films aren’t slashers or overtly gory and disgusting like Saw or Final Destination (left – still great films with strong fanbases), they’re about something deeper set in reality. Often used to explore explicit social commentary; from racism in America in Get Out, grief in Talk to Me and classism in The Menu.

They reflect what we as the audience fear, and always have – take the wave of alien horror from the 50s like The Thing from Another World, The Blob and Invasion of the Body Snatchers, and the psycho killer wave of the 70s in the time of Ted Bundy and the Zodiac Killer.

It enamoured not just horror fans, but producers, journalists, cultural critics and audiences. We still discuss it now on calls with producers, distributors and festivals – all taking inspiration from its strong female leads, use of body horror, and its references to social stereotypes surrounding ageism and misogyny. It reminds us of the power of horror with mainstream audiences. We’ve also noticed many more films in development with middle aged or older female leads.

With Demi Moore and Margaret Qualley both picking up major trophies, The Substance has become the poster child for a new wave of horror and horror-adjacent films that aim to use the tool chest of horror to be provocative without alienating mainstream viewers, stand out in a crowded and difficult market, and return investment.

And for international sales? Horror has never looked better.

This creative renaissance is matched by a pragmatic one. In an increasingly risk-averse industry with inflated production costs, tricker access to talent and a saturated marketplace, horror has become something financiers and buyers actively seek out, no matter the country of origin or language.

Why?

• Devoted, repeatable audience
• Existing IP not required to attract buzz
• Marketable with lower budgets
• Travelability

Its universality is its advantage. We are seeing this with non-English language entrants – take Irish language feature An Taibhse (The Ghost) and the Portuguese film Parvulos, which just sold to HBO LatAm after making its debut last summer.

Both features are with our client Firebook Entertainment for distribution, which is testament to their reach and the demand for non-UK and US horror. Jump scares translate.

So while technically Horror isn’t back – it has never gone away – it has absolutely evolved into a cultural and industry headline. The genre has become something sharper and more self-aware.

Its playful, its bankable and it is providing opportunities for the industry. It is nurturing a space for filmmakers to experiment and engage audiences in exciting, profound, and of course, terrifying new ways. And we’re all converts.