{"id":1151,"date":"2026-07-31T11:06:42","date_gmt":"2026-07-31T11:06:42","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=1151"},"modified":"2026-07-31T11:06:42","modified_gmt":"2026-07-31T11:06:42","slug":"in-teenage-sex-and-death-at-camp-miasma-desire-and-terror-meet","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=1151","title":{"rendered":"In \u201cTeenage Sex and Death at Camp Miasma,\u201d Desire and Terror Meet"},"content":{"rendered":"
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When a director makes a film about filmmaking, pay attention: it\u2019s a sign that the movie, however grand or stylized it may be, is also deeply personal, tapping into the nerve center of the maker\u2019s creative drive and self-image. That\u2019s true of such movies as Clint Eastwood\u2019s \u201cWhite Hunter Black Heart,\u201d Sofia Coppola\u2019s \u201cSomewhere,\u201d Jordan Peele\u2019s \u201cNope,\u201d and the latest entry in the genre, Jane Schoenbrun\u2019s \u201cTeenage Sex and Death at Camp Miasma.\u201d No less worthy than its predecessors, Schoenbrun\u2019s film is indeed the richest of them in terms of the multiple dimensions of cinematic experience that it dramatizes, critiques, and illuminates.<\/p>\n

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This is Schoenbrun\u2019s third dramatic feature as writer-director, and it marks a bold yet logical advance from the two that came before. In \u201cWe\u2019re All Going to the World\u2019s Fair\u201d (2021), an adolescent girl gets drawn into a macabre online role-playing game; \u201cI Saw the TV Glow\u201d (2024) is about teen-agers who are obsessed with a \u201cBuffy the Vampire Slayer\u201d-style series. \u201cTeenage Sex and Death\u201d is likewise a tale of media consumption\u2014it revolves around a horror-movie franchise\u2014but, in examining the fan experience, it also considers what goes into creating objects of fandom, including the emotional price that creators may end up paying. The result is a cinemanifesto, displaying Schoenbrun\u2019s relationship to the art and a vision of a creative ideal.<\/p>\n

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The story is simple: Kris Williams (Hannah Einbinder), a critically acclaimed twenty-nine-year-old independent filmmaker, has been tapped by a studio to reboot a slasher franchise that was launched in the nineteen-eighties, with the film \u201cCamp Miasma,\u201d and gave rise to many sequels and spinoffs, an arcade game, a comic book, and a slew of merchandise. In its day, the franchise drew protests from the religious right, but lately it\u2019s been criticized as transphobic. Kris, who identifies as queer and whose previous film included a re\u00ebnactment of the famous murder scene in \u201cPsycho\u201d from the perspective of the shower curtain, has been hired to reconfigure the premise to reflect current sensibilities. As her agent (Sarah Sherman) puts it, the studio wants her to make it \u201celevated, a.k.a. woke.\u201d<\/p>\n

Kris\u2019s interest in the job is more than just professional. She\u2019s been obsessed with \u201cCamp Miasma\u201d since she was eight, especially with a character in the first installment, a teen-age camp counsellor called Squeak. Squeak was played by a young actress named Billy Presley (Amanda Fix), who refused roles in the sequels, never appeared in another movie, and has no public presence at all. While sketching out the studio reboot, Kris has made contact with Billy, now in her sixties (played by Gillian Anderson), who invites her to a remote compound in the Pacific Northwest where she lives in self-imposed isolation. The inevitable directorial dance of seduction to lure the reluctant actor to sign on to the project turns into an actual seduction, in ways that prove personally and artistically consequential for both women.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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From this straightforward setup, Schoenbrun unleashes an outpouring of imagination and invention that places the film on a level of intricacy and extravagance comparable to that of Wes Anderson\u2019s \u201cAsteroid City\u201d and Greta Gerwig\u2019s \u201cBarbie.\u201d Scenes from across the \u201cCamp Miasma\u201d franchise play as films within the film, realized in elaborate detail. The result is gleefully gory: one victim is cut in half at the waist, their legs still standing as blood spurts; another is impaled on a spear and shattered to mist against a tetherball pole. But these scenes are filmed with such playfulness that the shock value is completely dissipated. (I say this as a squeamish, gore-averse viewer.)<\/p>\n

\u201cTeenage Sex and Death\u201d opens on the set of the original movie, as seen from the point of view of the killer, a figure known as Little Death (Jack Haven), whose most striking feature is a kind of helmet made from a cubic metal air vent, which masks the face behind a pattern of concentric squares and gives the character\u2019s breathing a distinctive labored sound. The glimpse of \u201cCamp Miasma\u201d and its production functions as backstory for Kris\u2019s trip, and sets the tone for the odd encounters that follow. At Kris\u2019s hotel, the desk clerk turns out to be one of the locals who were recruited to act in \u201cCamp Miasma, Part VI\u201d (which Kris watches in her room), and it emerges that Billy\u2019s compound, a former sleepaway camp, was the location for the shooting of \u201cCamp Miasma.\u201d Prowling the grounds, Kris finds a building labelled \u201ccinema<\/em>,\u201d and inside is a projector with a film reel cued up to the scene in \u201cCamp Miasma\u201d that most captivates her\u2014Little Death entering a room where Squeak is losing her virginity.<\/p>\n

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\u201cDesire,\u201d Kris writes in her notebook while watching \u201cPart VI,\u201d and it is Squeak\u2019s mix of desire and terror in the first movie that makes Kris\u2019s encounter with Billy so erotically charged. Kris\u2019s partner, Mari (Jasmin Savoy Brown), suspects that the reclusive Billy will resemble Norma Desmond, the delusional ex-star in \u201cSunset Boulevard,\u201d but Billy (who\u2019s well aware of the comparison) is funny, candid, insightful, and intensely sympathetic. She notes that Kris has been approaching her project \u201cacademically\u201d and urges her to speak freely. Kris opens up about her sexual inhibitions while worrying that such candor is unprofessional. Billy responds that these personal revelations are intrinsically part of the work, and that their collaboration has already begun.<\/p>\n

Much of \u201cTeenage Sex and Death at Camp Miasma\u201d is a classic two-hander, sharply written with plenty of scope for the two leads to shine. For all the movie\u2019s self-awareness, it\u2019s filled with tenderness and humor. Einbinder endows Kris with pent-up intellectual energy awaiting explosive release, and Anderson\u2019s Billy is a kaleidoscopic showcase of emotional vitality and natural, florid theatricality. Among the movie\u2019s daring inspirations is the ample screen time given to movie-watching, whether by Kris alone or by her and Billy together. Each one of these viewing sessions is more than merely an opportunity for ingenious film-within-a-film evocations of \u201cCamp Miasma.\u201d They\u2019re dramatic scenes punctuated by significant surprises: an accidental interruption, a trenchant observation, a raucous gag, a cathartic gaze. This built-in doubleness\u2014of the watchers and the watched\u2014lends \u201cTeenage Sex and Death\u201d a complexity that Schoenbrun amplifies in surreal, symbolic, and allegorical ways.<\/p>\n

Throughout, Schoenbrun revels in the ambiguous fusion of artifice and realism. The foremost innovation is the evocation of Little Death\u2019s perspective, by means of an unusual kind of camera movement\u2014wavering and wandering, somewhere between smooth and jittery\u2014which catches the viewer in the limbic system, going beyond disgust to the uncanny. The ostensibly transphobic element of \u201cCamp Miasma\u201d is that Little Death was gender-fluid, a cruelly bullied former camper whose killing sprees are displaced revenge. Schoenbrun, a trans filmmaker who explicitly addressed the trans experience in \u201cI Saw the TV Glow,\u201d here conceives something even more radical: a cinematic trans gaze, one that is visually distinctive in its tone while extruding violence endured into violent fantasy.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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At the end of Kris\u2019s time with Billy, she has to video-conference with a group of studio executives to give them a story outline for the reboot. Her pitch, deeply informed by Billy\u2019s sensibility and ideas and by the course of their encounter, is a brilliantly strange narrative that puts the character and vantage point of Little Death at the center of a film-within-a-film origin story. The executives (deftly lampooned by actors including Dylan Baker and Jess McLeod) are predictably aghast. For Schoenbrun, though, Kris\u2019s professional setback is an opportunity for her artistic and personal renewal, in the form of radical independence.<\/p>\n

Alongside the fundamental dichotomy of the watchers and the watched, \u201cTeenage Sex and Death\u201d explores a related one\u2014that of the director and the actor. As Kris and Billy view more and more of \u201cCamp Miasma\u201d together, Kris realizes that what she has always loved and feared about Billy\u2019s performance in the original film comes from the real-life trauma and ecstasy that the actress experienced during its filming, which left her with a lifetime of material to work through (and to work with, too). Billy\u2019s main creative outlet in her years of solitude has been visual art, and her work\u2014abstractions dominated by the geometric forms of Little Death\u2019s air-vent face\u2014seems like a closed circuit of self-therapy. With Kris, Billy is delivered from these visual abstractions, just as Kris, with Billy, is freed from her intellectual ones. Together, each of them becomes both director and actor, observing and observed, controlling and controlled, self-motivated and mutually determined, launched into a higher plane of artistic collaboration\u2014into a cinematic redemption.\u00a0\u2666<\/p>\n

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Richard Brody reviews Jane Schoenbrun\u2019s latest film, which stars Hannah Einbinder and Gillian Anderson, and follows an up-and-coming filmmaker as she reboots a horror franchise that has been criticized for being transphobic.<\/p>\n","protected":false},"author":1,"featured_media":1150,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-1151","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-current-cinema"],"yoast_head":"\nIn \u201cTeenage Sex and Death at Camp Miasma,\u201d Desire and Terror Meet - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=1151\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"In \u201cTeenage Sex and Death at Camp Miasma,\u201d Desire and Terror Meet - 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