TEENAGE SEX AND DEATH AT CAMP MIASMA
Starring: Hannah Einbinder, Gillian Anderson, Jack Haven, and Patrick Fischler
Director: Jane Schoenbrun
ADRIANO
As a vocal fan of Jane Schoenbrun, I’m delighted to say Teenage Sex and Death at Camp Miasma is another win for the surreal filmmaker, but in a way that feels fresh. As opposed to the dourness of their first two films, this one is not only silly, but it also showcases Schoenbrun’s fascination with identity and media in a more liberating register. I had a blast watching it, yet I’m still pondering its many themes and ideas. Once again, I walked away with the feeling that I’m watching an artist come into their own in real time.
BODE
With their previous two features, We’re All Going to the World’s Fair and I Saw the TV Glow, I’ve admired how writer-director Jane Schoenbrun can nail a Lynchian vibe whilst still carving out their own distinct style. With their latest feature, Teenage Sex and Death at Camp Miasma, I feel like I’ve fully embraced it. It’s a surprisingly playful and deeply poignant deconstruction of the slasher and the sort of impact it can have on one’s identity. Boosted by terrific central performances from Hannah Einbinder and Gillian Anderson, a great score from Alex G, and some outstanding needle drops, I’m a big fan.
NICK
Much like with I Saw the TV Glow, I can clearly see what director Jane Schoenbrun is going for with Teenage Sex and Death at Camp Miasma. Although I think they did a better job realizing that concept here, something about it just didn’t connect. As a parody of the slasher genre, it works. As a story of sexual awakening, again, it works. I just don’t feel these elements of the story fully complement each other. That said, Gillian Anderson is great, there’s a nice mix of flesh, fluids, and laughs (despite any scares), and I respect that Schoenbrun never compromises their vision.
QUENTIN
I appreciate that film is an artform through which artists can explore themselves and share experiences. Between I Saw the TV Glow and now Teenage Sex and Death at Camp Miasma, director Jane Schoenbrun seemingly does that exclusively. While that’s well and good, I don’t want to feel like I’m sitting through someone’s therapy sessions. So, despite delightful homages to ‘80s slashers, a terrific Hannah Einbender as a relatably obsessive film nerd, a surprising sense of humor, and a uniquely singular vision, Miasma feels more like another introspective analysis for Schoenbrun than entertainment for an audience. I’m sure the “MaRvEl IsN’t CiNeMa!!” crowd will adore it.
This film was reviewed by Nick, Adriano, and Bode as part of Bitesize Breakdown's coverage of the 2026 Fantasia International Film Festival.