A famous expression, often wrongly attributed to Mark Twain, states that comedy is merely tragedy plus time. This theory highlights how our response to films can depend on the context in which we see them.
We tend to think of the genre of a film as something very fixed, decided by a combination of studio producers and marketers. But, in the right context, films can move across many different genres in the span of their lifetime, depending on the audiences that watch them.
To demonstrate this idea, here are five scary films for 2026. The twist, however, is that none of these films were ever intended to be horror films. Most on the list were satire or comedy when they were made. Instead, they have become horrific due to the way they touch on contemporary issues surrounding the global politics of President Donald Trump, impending environmental disaster, ever-accelerating technology and contemporary attitudes towards gender.
1. Duck Soup (1933)
The finest film produced by the famous Marx Brothers comedy troupe, Duck Soup is an anarchic political satire that tells the story of an unserious playboy president named Rufus T. Firefly. Beloved by film enthusiasts, the film showcases a series of mishaps and misdeeds caused by his selfish, erratic behaviour which inadvertently led his country of Freedonia into a war with its neighbours.
Duck Soup is considered a classic of Hollywood slapstick and quick-witted verbal comedy. But, in an era of a genuine unserious president, its central joke might not feel funny any more. Nor indeed is the idea that, nearly 100 years after its release, this biting satire on the politics of rising authoritarianism would be as timely now as it was then.
2. The Apartment (1960)
People often say “they don’t make them like they used to any more” when trying to articulate a nostalgia for the films of the past. That description can be aptly applied to Billy Wilder’s romantic comedy-drama The Apartment. They do not make films like this any more. But in this case, that’s a good thing.
Jack Lemmon’s “Buddy Boy” Baxter is the bachelor who routinely loans his apartment out to his bosses for them to conduct extra-marital affairs. Shirley MacLaine’s Fran is the loveable but down-on-her-luck elevator operator involved in a tawdry situation with Baxter’s boss. Their own romance emerges out of a suicide attempt, workplace harassment and abuses of power. It feels like the film is set not just in the past, but in some creepy alternative world.
To be fair to The Apartment, it hardly treats some of the more problematic behaviour of its characters as virtues we are supposed to admire. But it never quite attacks the deeply unpleasant nature of its central conceit either. Baxter is not just a loveable goof unaware of what he’s got himself mixed up in. He’s a complicit enabler. And Fran is not a ditsy but loveable woman mixed up with the wrong crowd. She’s a victim.
3. Idiocracy (2006)
Idiocracy was something of a box office bomb, given neither the marketing campaign nor the reviews it needed to ensure success. The fact it has since become a cult hit speaks to how startlingly prescient the film is for contemporary audiences now discovering the film in droves 20 years later.
Idiocracy tells the story of a young man put into suspended animation who wakes up 500 years in the future. The average intelligence of the population has severely decreased, to the extent that the world has become increasingly consumerist, vulgar, crass and prejudiced in its thinking. America has even elected a former pro wrestler and porn star, Dwayne “Mountain Dew” Camacho, as its leader.
Made in 2006 during the final year of George W. Bush’s presidency and set against the rise of Barack Obama, the film failed initially as a comedy. It now works perfectly as a terrifying exaggeration of what the world looks like in 2026.
4. Wall-E (2008)
Wall-E is part of a long history of animations with an interest in the environment, from Princess Mononoke (2001) to Ferngully: The Last Rainforest (1992). That part of its dystopic vision still stands up. The film’s vivid opening of Wall-E wandering around a silent world of trash is still its best moment.
The film’s vision of the humanity that has left the garbage-strewn world behind, however, has become increasingly concerning over time. Predicting a world of humans who are dumb, obese and screen-obsessed, it is increasingly difficult to watch Wall-E as a nostalgic childhood treat.
5. Her (2013)
The amazing feat pulled off by this absurdist romantic drama was to somehow get an audience to root for the idea of a romantic pairing between a lonely middle-aged man and an AI-enabled operating system. More than a decade later, Her’s open-minded approach to AI seems far more fraught.
As the romance develops between Theodore (Joaquin Phoenix) and Samantha (voiced by Scarlett Johansson), it is difficult not to imagine the fingerprints of powerful but not necessarily benign tech moguls turning the screws tighter, manipulating Theodore further into spurning human contact for his digital desires.
Equally, it is difficult not to wonder whose voice has been stolen to create her warm, affectionate tones, or to ask what the company might do with the recording of their conversations. The dangers in our current technological reality have once again spoilt a perfectly good film.
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