"Teenage Sex and Death at Camp Miasma" REVIEW

Published on 8/19/2026 

Written by: Braylon Mitchell 

Directed by: Jane Schoenbrun 

Cast: Hannah Einbinder, Gillian Anderson, Jack Haven, Sarah Sherman, Amanda Fix, Zach Cherry, etc. 

Plot: A director making a slasher sequel becomes obsessed with casting the original film's 'final girl,' leading both women into psychological and sexual chaos. 

REVIEW 

Is this the funniest film title of the year? Possibly. Is this the one film title of the year that feels the funniest to say out loud to someone else? Absolutely. "I Saw the TV Glow" was one of my favorite films of 2024, instantly cementing Jane Schoenbrun as one of the freshest and most exciting voices in Hollywood in my eyes. Their sense of thematic purpose through queer representation, bold style, and glaringly apparent passion for all things cinema (specifically, horror) thoroughly impressed me. Thankfully, "Teenage Sex and Death at Camp Miasma" lives up to the high expectations and anticipation I held for it. Schoenbrun's vision for this film doesn't fall neatly into any preconceived categories, blending across its canvas shades of humor, camp, horror, sexual liberation, identity, and so on to collectively paint this film as a strange and beautiful work of satirical awareness and deeply felt sense of expression. In many ways, this film is full-on fan service. Not in the typical way, not in a distracting way that's fueled by a desire for big buck returns, but in a way where you can tell the filmmaker behind the wheel wants you to laugh at the satire of the industry and satire of the way Hollywood treats horror franchises—making many of the film's jokes and jabs feel like an inside joke cinephile and horror movie fanatic audiences are in on. This is a film blatantly made for people who are going to turn to their friend and point out a split diopter shot. There's even a joke about that in the film where Hannah Einbinder's character does exactly that. Speaking of her character, I wonder how much she was based off Schoenbrun themself, as the young horror obsessed queer writer/director character very much feels ripped from a personal place, making for strong emotional honesty. I found this film to be so resonant on an emotional level, especially the themes of escaping reality through movies and media. Schoenbrun is no stranger to this thematic pulse, through all the chaos and creativity they tap into such a bittersweet and honest sentiment of leaving reality behind. Watching this film, I felt a sinking sensation in my gut. I felt sad, even when laughing at my loudest. Schoenbrun films relay a feeling of gooey dread and reflection. That's a special, singular thing. "Teenage Sex and Death at Camp Miasma" and Jane Schoenbrun's impeccably unique filmmaking voice are a sight to behold on the big screen, and oh so very representative of the type of cinematic ingenuity that rivets and inspires. 

FIVE BEST ELEMENTS

(For times that it feels exclusively fitting and for films that I am very excited about, I will be including my "five best elements" instead of my traditional three.)

• The screenplay. This is one of my favorite screenplays of the year so far. In trying to be campy, many films miss the mark or only partially hit it. Not this film. This film tries to be camp, and is full on camp. Funny, because the setting is a literal campsite. My entire theater was roaring with laughter throughout this film, so much so that it got to a point where I think people were just preemptively laughing in anticipation for a joke. The pure absurdity, over-the-top nature of this script works in its favor. Schoenbrun leans into being on the nose, and it works—satire, characters, film-within-a-film parody, messages, and all. It'll never happen, but in a just world this film should get an Oscar nomination for Best Original Screenplay. 

• Jane Schoenbrun's direction. I was originally going to say that they're on a fast track to becoming the next David Cronenberg/John Waters/David Lynch/any other beloved cult classic filmmaker, but that doesn't feel entirely fitting—yes, they'll be one of the most popular cult directors for years to come whose surrealist style will inspire, but Schoenbrun is their own new voice. Influenced by others, but in many ways feels entirely new. This film is a directorial knock out of the park. 

• Hannah Einbinder's performance. Fresh off of "Hacks" ending after five wonderful seasons, Emmy winner Hannah Einbinder makes her big breakthrough into the realm of film and it's a joy to know that the talent she showcased on "Hacks" wasn't a one-off. She's hilarious, capturing a Gen-z energy of social and intimate distance that's emotionally engrossing. She kills it in this film. Fantastic work. 

• The cinematography. Beautifully haunting usage of colors, creativty in camera movement, and interesting framing. This is a film that knows exactly what its look and feel is, and is so confident in its aesthetics that it can afford to do bold and unconventional things. 

• The soundtrack. If this film and "I Saw the TV Glow" indicate anything about Schoenbrun's keen sense of atmosphere, it's their soundtracks. The songs both originally written and picked for this film are flawlessly suited to conveying the film's vibe, each soundtrack choice fitting to its corresponding scene. There are several needle drops that left me with such a huge grin on my face, particularly Little Death's killing spree sequence. Alongside Alex G's score, this film's soundtrack elevates it as a whole. 

WORST ELEMENT 

• This is a film that many people inevitably won't be on board with, but for me, I had very little legitimate criticisms. What Schoenbrun conveys with this film simply works for me on most every level. So, no notable worst element. 

RATING

8/10

For this film's crowds, it's a must see, buddy!