Seeking the Ultimate in Teenage Sex and Death at Camp Miasma

      Jane Schoenbrun makes an impact with *Teenage Sex and Death at Camp Miasma*, a tribute to classic slasher films that, while potentially indefensible, possesses a unique ability to ignite sexual awakenings.

      The writer-director's third feature intertwines beauty with chaos, confusion with contradiction. Co-lead Gillian Anderson highlights the inherent risks of filmmaking, stating, “but this is really a risk.”

      The film reaches a climax through a mid-point, single-shot sequence where a charming, nonbinary serial killer named Little Death releases torrents of blood from the bodies of sweaty teens, all set to a poignant ’90s ballad.

      Despite its seemingly improbable premise, it resonates on a fundamental, hormonal level, much like an effective slasher should.

      “It was always intended to be this tightrope act, choreographed like a dance that ultimately results in a complete massacre, yet it also resembles a ballet,” explains Schoenbrun.

      The film invites extensive analysis of the slasher genre: the foreplay, penetration, the way these films either critique or affirm various points along the sexual spectrum, and the implications of it all.

      *Teenage Sex and Death at Camp Miasma* follows the artistic and sexual journey of Kris, an ambitious filmmaker portrayed by Hannah Einbinder.

      “Jane is a true visionary, a filmmaker for the ages, and knowing their work, I was thrilled to find a role that felt so right for me,” says Einbinder, who recently completed her Emmy-winning role in HBO’s *Hacks*.

      “When I read the script, I felt a deep connection to Kris’s experiences in her body, and her relationship with sex was crucial to portray, something that only film can truly communicate.”

      (L-R) Collaborators Hannah Einbinder, Gillian Anderson, and Jane Schoenbrun appear on our latest digital cover. Image courtesy of MUBI; cover design by Ryan Ward.

      Schoenbrun grew up in a small town near New York City, immersed in horror and late ’90s series like *Buffy the Vampire Slayer* and *The X-Files*, providing an escape from a confusing adolescence where they felt disconnected from many gender-specific teenage experiences.

      They once shared with MovieMaker that transitioning enabled them to shift from “being in the audience of my life to being on stage.”

      The writer-director received widespread acclaim for 2022’s *We’re All Going to the World’s Fair* and 2024’s *I Saw the TV Glow*.

      With *Teenage Sex and Death at Camp Miasma*, they delve into their fascination with fandom and how stories shape us on a larger scale. The film is produced by Brad Pitt’s Plan B and distributed by MUBI, a streaming service that centers on showcasing emerging filmmakers.

      Casting Anderson, known for her role as Agent Scully in *The X-Files*, is one of the film's bold choices.

      “There’s a meta aspect to casting someone iconic like her from *The X-Files*, a show I watched as a child,” says Schoenbrun. “This role was intentionally crafted to engage with that imagery, but I also sensed an elegance reminiscent of a different era— not the ’90s or ’80s, but classic Hollywood.”

      Schoenbrun expresses excitement in challenging Anderson to embrace vulnerability. “Even though her performance is campy and larger than life, it reveals facets of herself that feel deeply vulnerable and complex.”

      Anderson entrusted Schoenbrun, impressed by *I Saw the TV Glow*, but even more moved by the *Miasma* script.

      “I believed in their commitment, and the way they infused personal heart, life experiences, joy, trauma, and more into it,” Anderson, an Emmy winner for both *The X-Files* and *The Crown*, remarks. “I was there to support their vision, willing to give them whatever they needed to realize it.”

      *Teenage Sex and Death at Camp Miasma* acknowledges the *Friday the 13th* series and other horror classics, including *Sleepaway Camp*, a cult 1983 film famous for its debated surprise ending, particularly among LGBTQ+ horror enthusiasts.

      Kris must revive a film-within-the-film titled Camp Miasma, a zombie franchise that has languished through numerous mindless sequels. She seeks out Anderson’s character, Billy, who starred in the original Camp Miasma—a steamy horror flick where Little Death (Jack Haven) exacts revenge on bigoted camp counselors.

      Billy currently resides at the enchanting camp where Camp Miasma was filmed and may or may not have an ongoing connection with Little Death, who may or may not be lurking beneath the water, poised to stab the young director.

      Little Death, named after the French idiom for orgasm, brings forth a narrative exploring violence, desire, and Kris’s elusive quest for sexual fulfillment. Kris confesses to Billy her