Jane Schoenbrun’s new film, “Teenage Sex and Death at Camp Miasma,” premieres in Cannes’ Un Certain Regard sidebar. The movie stars Hannah Einbinder and Gillian Anderson and is described across reviews as a psychedelic, meta-genre slasher homage that draws on early-1980s horror. Multiple outlets frame the film as a hybrid of sex, fear, fantasy, and pop-culture pulp, treating the slasher franchise concept with fan-like seriousness. Several descriptions focus on themes of desire and the collapse between fantasy and reality in a story involving a camp setting and a transgender character portrayed as a killer and “Final Girl” figure. Anderson’s performance is singled out by reviewers, who describe her as prominent and effective in the film’s queer, horror-forward approach. Reviews also highlight the film’s blend of body and atmosphere—using VHS-style aesthetics and a collage-like tone—while portraying sex and death as intertwined elements of the story. In Cannes, the film receives a warm response from the audience, including extended standing ovations at its screening at the Debussy Theatre.
Jane Schoenbrun’s ‘Teenage Sex and Death at Camp Miasma’ premieres at Cannes Un Certain Regard
Jane Schoenbrun’s new film, “Teenage Sex and Death at Camp Miasma,” premieres in Cannes’ Un Certain Regard sidebar. The movie stars Hannah Einbinder and Gillian Anderson and is described across review...
- Jane Schoenbrun’s “Teenage Sex and Death at Camp Miasma” premieres at Cannes Film Festival in the Un Certain Regard selection.
- The film stars Hannah Einbinder and Gillian Anderson and is described as a psychedelic, meta slasher-horror homage.
- Reviews describe the movie as blending elements of sex, death, VHS/pop-culture aesthetics, and fear and desire.
- Multiple outlets emphasize Anderson’s performance and the film’s queer framing.
- At its Cannes screening at the Debussy Theatre, the movie receives extended standing ovations and a warm audience reaction.
It’s about desire and sex. It’s a biting satire of reboot-mad Hollywood.
3 months agoA bold, bloody queer slasher film starring Hannah Einbinder and Gillian Anderson gave the Cannes Film Festival a gonzo jolt
3 months agoIt’s a film of not just finding new layers to the old and antiquated, but to one’s own outlook and desires.
3 months agoCannes film festival: Young indie film-maker Kris tracks down Anderson’s Final Girl for a remake of a beloved horror, to find fantasy and reality collapsedJane Schoenbrun unveils a very enjoyable display of transformative ecstasy and submissive rapture, treating us to a bizarre pop-cultural black mass of fiercely believed-in trash and kink. As before with Schoenbrun’s films, I found myself thinking of Gore Vidal’s (still unfashionable) Myra Breckinridge novel.This is a film that somehow persuades you that the 80s slasher genre is an exalting and liberatingly progressive experience. As before, in her We’re All Going to the World’s Fair (2021) and I Saw the TV Glow (2024), Schoenbrun pulls off the trick of inventing an imaginary media phenomenon and treating it with complete fan-seriousness – an online horror game and cult scary TV show in the first two films and now a slasher movie franchise called Camp Miasma about a teen transgender killer called Little Death wearing a ceiling vent as a mask (why is never explained) who periodically emerges from a lake in a sleepaway camp where scantily clad young people will be brutally speared. Continue reading...
3 months agoIf Jane Schoenbrun is feeling the pressures of being their generation’s highest-profile trans filmmaker, it shows in only the most enjoyably defiant of ways in Un Certain Regard opener “Teenage Sex and Death in Camp Miasma.” A steamy stew of sex, death, VHS and junk food, as though workshopped by Eros, Thanatos, Colonel Sanders and the […]
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