The latest in our series of writers paying tribute to their most rewatched comfort films is an unusual journey back to the 1980s through the lens of the early 2000s

If the stereotypical feelgood movie is a cashmere comfort blanket – the kind of film that leaves viewers blissed out on the sofa as the credits roll and Bridget Jones finally gets to snog Mark Darcy – I should probably notify a qualified team of specialists that my own is a tale of teenage alienation, suburban hypocrisy, apocalyptic dread and a man in a monstrous rabbit suit issuing stern instructions about death. Then again, it does have a considerably better soundtrack.

Richard Kelly’s Donnie Darko explored alternate realities decades before the Marvel films and Everything Everywhere All at Once made the multiverse a pop-cultural touchstone. Its tree-lined streets, Halloween skies and teenagers pedalling through suburbia were like a weirder, sadder blueprint for Stranger Things long before Hawkins existed. It’s a suburban fever dream about fate, madness and collapsing timelines, a nightmarish physics puzzle steeped in existential dread. But beneath all the cult-film weirdness, it is also the oddly uplifting story of a lonely, damaged kid who finally understands his place in the world – and sacrifices himself to save it against the backdrop of some of the most luminous 80s alt-pop atmospherics ever recorded.

The first 2026 entry in our ongoing series of writers calling attention to their comfort films is David Fincher’s thriller

It begins with a murder, and then another. A woman is killed, a man grievously injured, and a letter is sent to the news media. The killer gives himself a name – this is the Zodiac speaking – and provides a message written in code. So we start with three mysteries: the man, his motives and his message. The third is quickly cracked; the first hypothesized, but never definitively proven. But it’s the why of it all – why a man would kill at least five seemingly random people, and why we as a culture still care – that will require more significant investigation.

When it was first released more than 18 years ago, David Fincher’s Zodiac was considered a bit of an also-ran. Over two and a half hours long, it depicts the search for the Zodiac killer, who spent the late 60s terrorizing California’s Bay Area, as a series of bad leads and dead-ends, and concludes without definitively proving anything. It flopped at the box office and was not nominated for even a single Oscar.