Horror films aren’t simply a type of cinema; they serve as mirrors reflecting the fears and tribulations of an entire generation. Movies like “The Fly,” “Plan 9 From Outer Space,” and “The Blob” during the baby boomer era portrayed society’s deep-seated anxieties about the atomic age and rapid advancements in science and technology following World War II. In the 1970s, baby boomers witnessed horror films like “Halloween,” “The Omen,” “Jaws,” and “Last House on the Left” that challenged the post-war image of American morality and the idyllic suburban lifestyle, instead revealing cultural concerns about violence, madness, and satanic cults in a world shaped by Charles Manson. The late 1970s and early 1980s saw horror films like “Dawn of the Dead,” “Alien,” and “The Terminator” reflecting generation-wide fears of runaway consumerism, capitalism, and technology. Slasher-horror films of the 1980s, a time of Generation X, showcased a dark, cynical, and edgy view of a corrupt world and the supposed Karmic consequences for the sinful (depicted through maniac killers). Horror films from the millennial era reflect apprehensions about biological doom, the prevalence of camera culture, and self-awareness of the genre itself and its conventions. Examples include “Species,” “28 Days Later,” “Pulse,” “Cloverfield,” “Scream,” “Saw,” and “Final Destination.
By the middle of the 2020s, it’s increasingly apparent that the dominant themes in Gen Z’s horror cinema revolve around grappling with and coming to terms with profound generational traumas, along with the disheartening legacy of a world that often appears destined for disaster.
Generational Horror Started to Creep Into the 2010s
As a passionate cinephile, I’ve come to realize that it’s misleading to categorize horror trends into neat, decade-long segments. Just like society, decades are phases of transition where we gradually let go of past trends and embrace new ones. It’s no wonder, then, that the mid-2010s marked a significant shift in the genre landscape. Filmmakers such as Robert Eggers (with his 2015 release “The Witch” and 2019’s “The Lighthouse”) and Ari Aster (“Hereditary,” 2018, and “Midsommar,” 2019) emerged prominently, thanks to their films that delved deeply into familial themes of elder generations corrupting or abandoning the younger ones.
In 2025, Warner Bros.’ movie “Weapons” has become another successful addition to their collection, earning acclaim within the horror genre. The film shares similar themes with director Zach Cregger’s previous blockbuster, “Barbarian” (2022), and Fede Álavarez’s “Don’t Breathe” (2016). These films all portray struggling young individuals encountering sinister figures in dilapidated, abandoned urban areas of Detroit. This thematic alignment is not a common occurrence.
It’s evident from various films (such as the A Quiet Place series) that the last decade has been marked by a lack of hopeful prospects for Gen Z. Focusing on the 2020s alone, it appears this generation is grappling with a collective pessimism, encompassing both internal and external struggles.
2020s Horror Is Defined By Generational Conflict & Trauma
In the 2020s, a fresh crop of horror filmmakers have risen to prominence, now recognized as the genre’s emerging titans. The Australian pair Danny and Michael Philippou transitioned from YouTube video creators to releasing two critically-acclaimed horror movies – “Talk to Me” (2022) and this year’s “Bring Her Back”. Both movies revolve around characters grappling with profound sorrow following a parent’s demise. The antagonist in “Bring Her Back” is an older woman, powerfully portrayed by Sally Hawkins, who, grief-stricken over the death of her daughter, resorts to dark rituals to supposedly revive her by sacrificing another child. This film was sparked by a true-life family calamity endured by the filmmakers, with Danny Philippou admitting during the press tour for “Bring Her Back” that the traumatic experience transformed their perspective (and subsequently their work), irreversibly: a somber testament to art mirroring life.
Philippou expressed that the thought of her continually struggling to find peace following that event served as a powerful catalyst… and the lengths she might take to recover from it were compelling. Essentially, he found the concept of an unending cycle of grief truly daunting.
The idea of youthful disenchantment is rapidly escalating within the horror genre. Ryan Coogler’s groundbreaking film, Sinners, focuses on Preacher Boy Sammy, a character whose aspirations of becoming a music star and opening a club with cousins are brutally shattered in one fateful night involving death, trauma, and loss – not to mention the disheartening revelation that such a dream was never achievable in the segregated Jim Crow South. Despite being set in an era marked by racial segregation, Sinners makes a poignant statement (through its memorable anachronistic musical dance sequence) about how cultural traumas from this time still resonate today. In 2024, the film Heretic sought to challenge Gen Zers by exploring their efforts to reconcile contemporary beliefs with traditional religious doctrines; similarly, Final Destination: Bloodlines did not shy away from its intent to metaphorically represent the mental, physical, and emotional burdens that today’s generation inherits through family DNA.
Osgood “Oz” Perkins is making a name for himself in the horror genre, recognized for his films “Longlegs” and “The Monkey.” “Longlegs,” initially intended as a serial killer psychological thriller, sparked controversy when it shifted towards supernatural horror with a chilling twist (a vengeful mother). On the other hand, “The Monkey” faced criticism for its blunt (albeit heavy-handed) portrayal of a metaphor about harmful influences inherited across generations. Notably, Perkins’ focus on such themes mirrors those prevalent in modern horror due to his lineage – he is the son of Anthony Perkins, famously known for his role as Norman Bates in “Psycho.” Starting his career as a child actor in “Psycho II,” Perkins has an intricate family history. Despite being an established filmmaker (aged 51), his fascination with how past experiences shape a more ominous present resonates with the current horror trends and is gaining traction among Generation Z.
Today, even popular horror series that once appeared to have run their course are skillfully adapting to the present era and new demographic. For instance, Fede Álvarez tailored his Alien: Romulus reboot to cater to different generations, earning acclaim for his modern take on Alien, focusing on a group of youths trying to evade the bleak fate their parents’ blue-collar life had foretold. Meanwhile, Dan Trachtenberg’s Predator: Badlands promises to further push boundaries within the franchise by introducing a Predator species member (the Yuatja) into a harsh, unforgiving environment, where he embarks on a survival mission to prove his generation’s worth and potentially challenge or even dethrone his own father figure.
In simpler, more conversational language, the statement could be:
Zach Cregger’s movie, “Weapons,” has solidified him as one of the most promising new voices in horror cinema. Interestingly, his personal loss of a close friend from his comedy group, Trevor Moore, partially inspired this work. The film delves into a story about a child enduring horrific abuse at home, which is often overlooked by flawed adults and failing social systems. Notably, an older family member is involved in the child’s suffering. This dark ending of “Weapons” can be seen as a warning from Cregger: if older generations keep exploiting younger ones, they might not be pleased about it. This theme is also present in Scott Derrickson’s movies like Sinister and The Black Phone. Even the movie M3GAN, while entertaining and successful, serves as a reminder to future Gen Z parents about the potential dangers of relying too heavily on technology instead of family bonding and parental care. All in all, it’s quite a thought-provoking commentary on the relationships between generations.
As we approach the 2030s and “Generation Alpha” begins to explore the thrill of horror movies (will movie theaters still be around?), it’s likely that fresh trends in the genre will emerge. Reflecting back on our current times, the 2020s perspective will undoubtedly confirm what we suspect now: Generation Z felt a strong discontent with the world outside their digital environments, and were disappointed by the stark realities of ancestry and cultural connections that bind us all. Horror, however, has consistently offered a powerful emotional release for such feelings – a form of relief that every new generation can expect to encounter.
NOTE: The movies mentioned in this article are either showing in theaters or streaming now. Go watch them.
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2025-08-26 01:11