Teenage Sex and Death at Camp Miasma Review

Teenage Sex and Death at Camp Miasma is a profoundly mesmerising horror from the mind of Jane Schoenbrun, one of our best working directors.

Kris (Hannah Einbinder), a budding young director whose indie flicks have been praised at Sundance, has set up a meeting with ‘80s final girl Billy (Gillian Anderson, of Sex Education) in hopes of getting her to return to her horror roots. Billy has been out of the game for a while, but is still known for her memorable performance in the first film from the Camp Miasma series. The two get to know each other over a dark and gloomy night, revealing information about themselves that they had never shared with anyone before. They click instantly, like their chemistry was written in the stars. 

Einbinder’s first lead in a film is poised and enchanting. Her wit that we see in Hacks is not lost here, just shifted slightly, to make room for a character that has more concealed depth. Ava, her character in Hacks, has emotional vulnerability, with comedy being her main way of coping, but Kris is more secluded, with her outlet being her films. The two share similarities but are different enough to show Einbinder’s range as an actress. Every scene that her and Anderson share is on another level, with chemistry even married couples don’t have. 

We all know and love at least one of Anderson’s projects (if not all of them) and her portrayal of Billy is maybe one of her best performances to date. She’s an enticing character, to both the audience and to Kris. We get to see Billy unravel her layers, but there’s still so much to be uncovered. The slice of her life we do get makes us understand why Kris has a deep connection to her, even long before the two meet. An ensemble, made up of Eva Victor, Sarah Sherman and Dylan Baker, just to name a few, are all sublime, making it one of the best cast films of the year. 

Whilst the film pokes fun at old slashers and their outlandish tropes, like how there’s always a girl running through the woods with just lingerie on (or better yet, a wet tightly fitted crop top), or the copious amounts of red blood that is one drop of food colouring away from looking like it’s straight from a pink unicorn horn, its motif of queer isolation shines through. Kris’ polyamous relationship with Mari (Jasmine Savoy Brown, of Scream), who is also dating Thor, the “bisexual king”, is somewhat stable, claiming they do really love each other. But it doesn’t satisfy her as much as she would like it to, letting her insecurities get in the way.

Sex is forever praised as something special, and whilst it should be an exciting and empowering thing, there’s a taboo behind sharing stories of anything other than your first time. Kris claims to be “bad” at sex, constantly reminding herself how she doesn’t feel confident in her own body, but Billy reveals to her how to find the balance of enjoying someone else’s power onto you, whilst simultaneously taking back the power. At Camp Miasma, you can be in control. 

Our killer, Little Death, played by the always stellar Jack Haven (Bombshell), is quite literally named after another word for an orgasm. These details from Schoenbrun make Teenage Sex and Death at Camp Miasma have the edge over what other directors of this genre are doing. Yes Ghostface is an icon, but come on, a killer named after an orgasm? That’s what cinema is all about. Haven’s character has a backstory, too, which relates to Schoenbrun’s queer awakening. He’s teased for wanting to express himself, with his trans identity poked fun at, becoming the laughing stock of the summer. 

Billy is mysterious, something that Kris finds extremely alluring. There’s something about her that Kris can’t quite figure out. What really is the look in her eye? Billy has had a long-lasting effect over Kris, and watching her in the first Camp Miasma movie moved her to the point of watching it at least 100 times. Horror films have had a track record of being queer awakenings, with Camp Miasma being Kris’, and I’m sure Schoenbrun’s features have that same effect, with people seeing their characters and having that lightbulb moment. 

It’s also a cold and bleak film at times, drawing parallels from the crisp snow that sets the scene outside. There’s moments of sadness amongst the gore, especially with monologues from either lead character as they dive deeper into their past. Every inch of the cinematography is to die for, with Schoenbrun’s collaborator Eric Yue, who worked on I Saw the TV Glow, returning. Not a single hair is out of place. Even the opening credits deserve a million awards alone.

Teenage Sex and Death at Camp Miasma is a dazzling fairytale dream that pays homage to its horror predecessors, whilst being so distinct in style that it’s a one of a kind experience. Schoenbrun is paving the way for so many necessary LGBTQ+ stories that are entertaining but also brimming with important messages of identity and acceptance.

Teenage Sex and Death at Camp Miasma, the Opening Film of Un Certain Regard, was screened at the Cannes Film Festival on May 13, 2026. The movie will be released in UK and Irish cinemas, in US theaters, and globally in theaters on August 7, 2026.