When Nosferatu hits American theaters on December 25, it will have a weight as familiar as Christmas movies. The paradox is part of a tradition that has been around for many generations and dates back to a combination of cultural and literary factors. Although Christmas is widely associated with joy and family warmth, it also has a dark side in folk traditions, explored in many films over time.

The Literary Roots: Telling Horror Stories at Christmas

Before cinema existed, it was a Victorian tradition to tell ghost stories during Christmas. Writers such as Charles Dickens popularized this idea with works such as A Christmas Carol (1843), which, although a story of redemption, features frightening elements, such as the spirits of Christmas. This practice created a link between Christmas and the supernatural, which was later adapted for film.

And once stories were given images, and even more so, sound, combining the genres was easy. Christmas horror films began to emerge in the mid-20th century, although they were initially subtle. For example, in 1945, a British anthology of horror stories, Dead of Night, included a narrative about ghosts at Christmas. But the direct example of horror set at Christmas was the adaptation of Dickens’ tale to the cinema, in several versions, such as those of 1938 and 1951, in which the spirits of Christmas took on frightening tones.

The great shift of combining horror with Christmas really gained momentum in the 1970s and 1980s, with films that mixed graphic violence and subversion of the festivities. Fifty years ago, in 1974, Black Christmas established itself as a milestone in Christmas horror. Directed by Bob Clark, the film is considered one of the first slashers in history, featuring a killer terrorizing a group of women during Christmas. Ten years later, 1984’s Silent Night, Deadly Night sparked controversy for its portrayal of a killer dressed as Santa Claus, shocking many viewers. It solidified the Christmas horror subgenre.

Some point to a psychological basis for these associations because Christmas is also a time when it can arouse contrasting feelings—loneliness, nostalgia, and even melancholy—that align with the mood of horror films. In addition, the subversion of a traditionally joyful date became attractive to filmmakers who wanted to explore the contrast between light and darkness, but above all, the end of the year is a lucrative time for releases, with many people on vacation and going to the movies. Releasing intense or shocking films during Christmas guarantees great visibility.

The antagonist of Christ making history

The “tradition” took a definitive step in the collective imagination when, in 1973, The Exorcist was released on December 26, a “joke” considered in bad taste by religious people given that the film deals with demonic possession.

Directed by William Friedkin, Warner Bros.’ strategic decision was to capitalize on the busiest time of year for movie theaters, when families and young people were looking for entertainment during the holiday season, not exactly religious allusions. The choice generated controversy and debate at the time, which helped to attract even more attention to the film, which became a cultural phenomenon, with packed theaters and huge lines even during the holidays.

Stories of fainting, vomiting, and people leaving the sessions terrified became common, creating an aura of mystery and fear around The Exorcist. This reaction was widely exploited in marketing, of course! It helped that critics were divided: some praised the film as a masterpiece of psychological and religious horror, while others considered it sensationalist. I am one of those who saw brilliance.

In the Christmas context, the film was seen as a bold and subversive choice. Some religious people protested its release, especially because it explored themes such as demonic possession and the crisis of faith, but the post-Christmas release was a masterstroke. During the holiday season, many people were looking for something to watch, and the fear-based advertising campaign generated even more interest. The Exorcist grossed more than $400 million at the worldwide box office, becoming, at the time, the highest-grossing horror film in history.

More than that, The Exorcist’s Christmas release helped shape the perception that horror films can benefit from contrasting with the spirit of the season. It became a landmark in the history of cinema, with its strategic release being remembered as a bold and effective move.

Vampires flee the Cross but fly to theaters

In 1992, at least in Brazil, the release of Bram Stoker’s Dracula, by Francis Ford Coppola, was precisely on December 25. The film was a landmark in cinema, combining gothic horror The classic with a sophisticated and innovative visual approach had already premiered in the United States in November, strategically positioning itself before the holiday season, but remaining in theaters through Christmas, when it reached a large part of its global audience.

The tragic love story between Dracula and Mina (played by Gary Oldman and Winona Ryder) made the film appealing to viewers looking for more than just horror, and the film’s lavish, theatrical look, with extravagant costumes and breathtaking sets, gave audiences an immersive cinematic experience that stood out among holiday releases.

Designed to balance traditional horror with a more universal appeal, audiences responded well to the contrast offered by the film’s gothic romance and dark atmosphere. The box office grossed over $215 million worldwide, becoming a financial success for Columbia Pictures. And it is on this basis that Nosferatu now hits American theaters on the 25th, premiering in Brazil a week later. Christmas doesn’t scare vampires!

Ultimately, releasing horror films at Christmas is more than just a commercial ploy: it’s a profound exploration of human fears, contrasted with the comfort and joy of the season. This emotional shock, coupled with clever marketing strategies, has created a subgenre that continues to thrive. And we love it!

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