18/08/2026
REVIEW: Teenage S*x and Death at Camp Miasma
In Jane Schoenbrun‘s filmography, horror and fantasy are not just used to frighten the audience; rather, they serve as a metaphor for the q***r experience and the struggle that comes with understanding one’s identity. The director’s newest film, Teenage S*x and Death at Camp Miasma follows q***r filmmaker Kris (charmingly portrayed by Hannah Einbinder) is hired to reboot the low-budget ‘80s franchise Camp Miasma, tasked with making the movie’s premise more palatable for the modern era. Interested in casting the original final girl in her remake, Kris travels to the Pacific Northwest to meet with Billy (fantastically characterised by the sublime Gillian Anderson), and the two women quickly develop feelings.
Unlike I Saw the TV Glow, which has an undercurrent of melancholic desperation, Camp Miasma celebrates q***rness, allowing its protagonists to share in the joy of coming to terms with their sexuality. Kris and Billy’s sapphic desire is depicted with equal parts awkwardness, trepidation, warmth, and tenderness, permitting these two women to freely express their fantasies, fetishes, and passion in a safe and accepting environment. Little Death’s (Jack Haven) tragic backstory is where the q***r joy ends, though, as the character’s arc reads more like a second attempt at the trans allegory Schoenbrun crafted in TV Glow (an analogy that is often misunderstood by audiences who view the film through a non-q***r lens).
Camp Miasma is a lot of things all at once: it’s a commentary on cult fandoms and Hollywood’s commercialisation of cinematic universes. It’s a reflection on q***r media and how identity is crafted through on-screen representation. It pays homage to cinema’s great horrors all the while using its own voice to tell a completely original narrative. Camp Miasma is captivating, hilarious, and intelligent. It’s boldly imagined with a distinct design and a comprehensive universe. With Camp Miasma, Jane Schoenbrun has shown their growth as a storyteller, solidifying their place as a pivotal q***r filmmaker. — review by Shelby Cooke
