Reasons why Jane Schoenbrun is ideal for the A Nightmare On Elm Street remake.

      Jane Schoenbrun is eager for the job, and Paramount is in need of a director for their Nightmare on Elm Street remake. Here’s why and how it should occur…

      Schoenbrun's films have successfully garnered a cult following and critical recognition, despite their second feature, I Saw the TV Glow, being somewhat polarizing among general audiences. Their recent work, Teenage Sex and Death at Camp Miasma, has been met with broader appreciation while still reflecting the filmmaker's distinct style and innovative approaches. This film serves not only as an audition for a chance to direct one of horror's iconic franchises, but it's also a testament to Schoenbrun's skills, deserving to have their name etched permanently as the director rather than being bound by a standard contract.

      Camp Miasma explores recurring themes in Schoenbrun’s work, such as identity and existential dread, alongside a nostalgia for the bizarre and magical experiences that television and film have provided over the last four decades. Similar to I Saw the TV Glow, it presents a vision that Schoenbrun boldly shares with little concern for genre norms or mainstream appeal. Camp Miasma is cheerfully anti-commercial, at least by the standards of executives and distribution companies. The reality is that the cult following that Schoenbrun has already built, along with the additional fans they will attract with this latest work, craves original perspectives. Odd and quirky films tend to be more engaging and popular than corporate executives might want to acknowledge. The real question is whether the executives at Paramount have the courage to approve a fully-fledged Schoenbrun version of Nightmare on Elm Street. They probably don’t, but they really should.

      Camp Miasma is sharp and incisively satirical about filmmaking, from the high-level executives to the determined filmmakers trying to get their projects off the ground. Simultaneously, it is a heartfelt homage to low-budget horror from the video era. If you’ve ever watched an obscure horror franchise and wondered about the fate of a fresh-faced star, Schoenbrun offers a warm and thoughtful examination of that question.

      Interestingly, at Flickering Myth, we were captivated by the casting of Annabelle Lanyon in our film, The Baby in the Basket. She had a significant role in Ridley Scott’s Legend but seemingly faded from mainstream cinema, apart from a few cult roles. Her name may not resonate with many, but for devoted fans of Legend, her appearance in something new sparks curiosity about her absence from the spotlight. (I have since cast her again, and she will be in FM’s next film, Robert Returns.) These are precisely the kinds of questions that passionate fans of cult cinema ponder, which align with the protagonist's quest in Camp Miasma to entice a once-famous franchise star now lost to obscurity after the fictional franchise Schoenbrun devised for the film.

      The insightful observations within the film about cinema, filmmaking, and cult fandom are exceptional, which likely explains why the film resonated with me. In fact, the scene depicting a group Zoom script meeting/pitch involving writer/director Kris (Hannah Einbinder) and a team of studio executives felt strikingly true to my own experiences, albeit without the positive outcome that scene suggests. I have participated in such calls, and the dynamics among the characters were also accurately portrayed. These keen observations give Schoenbrun a distinct advantage. They highlight the tension between catering to trends and commercial interests dictated by individuals who often lack a deep understanding of film, all while acknowledging that filmmakers cannot function without them. I would imagine there is quite a bit of Schoenbrun’s character reflected in Kris.

      Above all, Schoenbrun’s film, much like Mandy (Panos Cosmatos) and The Lighthouse (Robert Eggers), is unapologetically unique. As mentioned, it borders on reckless, which is even acknowledged within the movie itself. Meta films can often seem self-satisfied and overly impressed with their own concept, but Camp Miasma feels authentic. Nevertheless, effectively subverting numerous cinematic elements while being self-referential necessitates a deep comprehension of what is being satirized. Schoenbrun understands horror cinema, its tropes, villains, and underlying themes (both intentional and interpreted through reevaluation and analysis), as well as the problematic aspects of older intellectual properties. The script is superb, shifting between various tones, showcasing humor, fantasy, heartfelt moments, and more—key attributes that Schoenbrun could bring to the Nightmare reboot.

      The previous attempt to reboot the legendary Freddy franchise was dismal. It focused too heavily on recreating scenes from the original, but did so ineffectively. Attempts to redesign Freddy’s appearance also failed. The most disappointing factor was how generic it felt compared to a franchise known for its eclectic mix of styles. Craven’s original executed those iconic moments with creativity, finding innovative solutions to budget constraints without compromising ambition. Kruger emerging