TEENAGE SEX AND DEATH AT CAMP MIASMA
Jane Schoenbrun | 2026 | USA | 1h52m | Presented in the original English audio with English subtitles
Jane Schoenbrun has spent their career making films about what happens when the media you consume stops feeling separate from your own life. TEENAGE SEX AND DEATH AT CAMP MIASMA takes that idea and throws it straight into an 80s slasher franchise.
Hannah Einbinder plays Kris, a young filmmaker hired to revive CAMP MIASMA, a long-running horror series that has been chewed up by bad sequels and fading nostalgia. Her obsession leads her to Billy Presley, played by Gillian Anderson, the original franchise’s final girl, who has spent years living in isolation at the camp where the first film was shot.
From there, the film starts pulling apart the relationship between fans, actors and the movies that shape them. Schoenbrun treats the fictional CAMP MIASMA series with the level of detail usually reserved for something that actually existed. VHS tapes, memorabilia, sequels, fan mythology, failed reinventions. It feels like an entire horror franchise has been built behind the film before the story has even started.
The obvious reference point is FRIDAY THE 13TH. There are also traces of the wider slasher canon everywhere, but Schoenbrun is less interested in parody than in what those films mean to the people who grew up with them. Horror fandom becomes part of the story itself. The film asks what happens when something you loved as a teenager becomes bound up with your sexuality, identity and memory.
Gillian Anderson is especially good casting because she brings decades of genre history with her. For a certain generation (namely mine) she's already inseparable from THE X-FILES. Here she's playing someone trapped inside another kind of legacy, an actress who has spent years being defined by a role everybody else refuses to forget.
Schoenbrun described the film before release as essentially PORTRAIT OF A LADY ON FIRE inside a FRIDAY THE 13TH sequel, which sounds ridiculous until you see how seriously the film takes both halves of that description. There is gore, camp and slasher iconography, but there is also desire, intimacy and a lot of thinking about who gets to control the meaning of a movie once audiences have claimed it for themselves.
After WE’RE ALL GOING TO THE WORLD’S FAIR and I SAW THE TV GLOW, this is Schoenbrun’s third narrative feature and their most openly movie-obsessed one yet. It is horror about horror, fandom about fandom, and filmmaking about the danger of loving an image so much that you start trying to live inside it.
For fans of CINEMA ABOUT CINEMA · QUEER CULT · WEIRD HORROR · CINEMA OF OBSESSION · MIDNIGHT MOVIES
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