Joey Magidson
I love a good campy horror film, especially a slasher. The Sleepaway Camp franchise in particular is an absolutely ridiculous joy, one that always rewards a visit. So, the prospect of Jane Schoenbrun‘s third feature, Teenage Sex and Death at Camp Miasma, being a love letter to the genre was always an exciting one. Well, consider me absolutely delighted, as the film is, while also being a deft exploration of sexual hangups, gender identity, and Hollywood stereotypes, a first rate tribute to the gorefests of the VHS era. This is one of my favorite movies of the year so far.
Teenage Sex and Death at Camp Miasma had me from literally the opening credits, as that title sequence brilliantly showcases the history of the fictional Camp Miasma horror franchise. All the little details are right, down to the ridiculous sequels, children’s toys, and games that an 80s slasher would spawn. Kudos to Mila Matveeva, who designed them, as it’s pitch perfect, setting the flick up incredibly effectively. The fact that it becomes very much about more than just a Sleepaway Camp adjacent property is almost a bonus, considering how well realized all of that is, but it adds up to a work that will stay with you long after the credits roll.
Kris (Hannah Einbinder) is a young Sundance darling filmmaker who has recently been tapped to breathe new life into the long dormant Camp Miasma slasher franchise. Among her big ideas for the sequel is to get original star Billy Presley (Gillian Anderson) to return. Billy opted out of the sequels, leaving the industry entirely to live in seclusion on the site of the film’s original shooting location. Meeting her there to woo her for the picture, Kris is hypnotized by her surroundings, as well as quite taken by Billy.
While Billy initially appears uninterested in the movie, she invites Kris to stay, and they get to talking. As both open up, prodded by Billy, they talk about their lives, including how Kris is always intellectualizing her passions, as opposed to enjoying them. This leads them to begin discussing sexual hangups and even traumas, of which they both possess. Their conversation, flirtation, and memories begin to mix with material from the Camp Miasma titles, including the presence of its seemingly unkillable slasher, Little Death (Jack Haven). There’s a lot more to it all, but part of the joy here is discovering how it all fits together, so go in as unspoiled as you can.
The duo of Gillian Anderson and Hannah Einbinder are splendid. Anderson is really feasting on the material, turning Billy into part Norma Desmond, part fever dream. It’s a top notch performance and unlike anything she’s ever done before. Einbinder gets a great showcase here as well, with tricky material to play. She’s satirizing a type of wunderkind filmmaker while also playing a victim of sexual trauma. That it all works is kind of insane, while undoubtedly wonderful to witness. Supporting players here, all with small roles, include Dylan Baker, Jasmin Savoy Brown, Zach Cherry, Sarah Sherman, and Eva Victor, as well as the aforementioned Jack Haven. They’re fine, and often part of a broader and more overtly comedic element to things, but Anderson and Einbinder are funnier, while also acing the dramatic heft.
Until now, I’ve appreciated the work of Jane Schoenbrun more than I’ve liked or been moved by it. I wasn’t a fan of We’re All Going to the World’s Fair and respect I Saw the TV Glow as a unique endeavor. Here, however, I’m fully on board, as Teenage Sex and Death at Camp Miasma rips. It’s not a subtle film, nor does it intend to be, given the name of its slasher is literally Little Death, but those heightened elements really do fit the material. Schoenbrun has a lot to say about sexual hangups and the queer experience, and they once again are saying them in a manner unlike any other storyteller out there, so it’s clearly a personal movie. All of that is there once again, and undeniably evocative. What sets this one apart, at least for me, is how much fun it also can be, as Schoenbrun showcases a deep love for the genre, as well as an affectionate way to pick it apart. Plus, this is the rare offering to actually mix sex and death effectively, as no less a work than Munich fumbled a key scene. Here, it’s where the film really shows all of its cards and reaches a whole other level.
Teenage Sex and Death at Camp Miasma absolutely rules. One of 2026’s top titles for me, I would be very surprised if it didn’t wind up on my year end top ten list. It’s just that good. It took three films to fully win me over, but Jane Schoenbrun sure did. This is their most accessible movie to date, but don’t mistake that as meaning they’ve gone Hollywood. If this flick is as mainstream as they get, you’ll never have to worry, as this is still wonderfully esoteric and on a very singular wavelength.
SCORE: ★★★1/2
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