There's More to a Final Girl Than Surviving in Teenage Sex and Death at Camp Miasma (2026)

Teenage Sex and Death at Camp Miasma is a cinematic fever dream brimming with nostalgia and wit. Since I hadn't seen any films by director and writer Jane Schoenbrun before (I know, shame on me), I wasn't sure what to expect. After watching it, I find myself occasionally lost in thought, contemplating its meaning and significance. To me, that’s a sign of a good film.

It’s a very ambitious film that may not appeal to everyone. However, I believe it's especially important for horror enthusiasts to check it out, form their own perspectives, and explore the genre more deeply. It’s truly unlike anything I’ve ever seen.

You will experience discomfort, laughter, and possibly even crying at times. The unsettling moments will penetrate your bones, but they are balanced by witty humor. I was completely immersed in this beautiful, pastel-colored world, letting the story carry me away. And I think you should too.

The film centers on Kris (Hannah Einbinder), a young queer filmmaker tasked with reviving the Camp Miasma slasher series, a franchise similar to Friday the 13th. As a devoted fan of the franchise, Kris sees this as more than a job. She meets and forms a connection with Billy Presley (Gillian Anderson), the reclusive actress who was the final girl in the original film. Kris hopes to cast Billy in her reboot/reimagining, but Billy remains hesitant. The story unfolds as a tense exploration of psychosexual obsession and the looming threat of Little Death returning to claim new victims.

First things first: If you’re expecting a slasher, you’ll be mildly disappointed. The slasher elements are secondary to the film’s main narrative, but the slasher moments are still visceral, grisly, and fun. The blood and gore in this film are next-level, with Sam Raimi-esque geysers of blood; you can’t help but chuckle.

Plus, the elements we love about 1980s slashers and their tropes are sprinkled throughout, creating a nostalgic charm you can’t help but smile at, especially in the opening credits, which showcase much of the Camp Miasma lore and help establish the film’s history and “realness.”

This is Schoenbrun’s third feature film, following I Saw the TV Glow (2024) and We’re All Going to the World’s Fair (2021). I have not seen these films because I thought they might be too out there for me. I Saw the TV Glow received widespread praise from the horror community, but it never made my radar because it sounded too full of allegories and coming-of-age realizations.

After seeing Camp Miasma, I absolutely need to go back and watch their other movies.

I loved the cinematography by Eric Yue and Schoenbrun. The sweeping camera shots were so fluid, with a gentle glide that made you feel part of the film, especially the shots from Little Death’s point of view. And I can’t overlook the “split diopter shot” (when you see the movie, you’ll understand this reference).

It was also filmed on 35mm, perfectly capturing the 1980s slasher look I love. It adds texture and vintage colors that evoke nostalgia, which suits the material and reminds me of a time when I had to rent tapes from Blockbuster. What can I say? I’m a typical millennial.

But the most stunning element is the production and set design by Brandon Tonner-Connolly and Matt Hyland. They used real sets to capture the fantastical shots of the landscapes that look straight out of a fairy-tale book. They used optical glass matte paintings instead of green screens to achieve this. They also built the gas station seen in the film.

In a world where AI looms in the shadows, I absolutely adore the use of practical effects, especially when they’re as creative as this.

The soundtrack is also killer (no pun intended). I will never listen to “Long December” by the Counting Crows the same way again.

But what’s even more striking than the film’s look and sound is the acting. Heather and Gillian, as Kris and Billy, deliver dazzling, electrifying performances. Heather captures Kris's lack of self-awareness, making her awkwardness palpable, yet she remains endearing and inspires a desire to see her succeed. Gillian’s portrayal of Billy is exquisite, with a hint of sadness in her eyes that you try to unravel, yet you can’t help but be swept up by her magnetic personality and charm.

Also, Little Death’s costume is excellent. It’s almost like Pyramid Head, except he has a ceiling vent instead of a pyramid on his head. It’s absolute nightmare fuel!

In keeping with Schoenbrun's style, the film skillfully weaves together themes and messages. While Schoenbrun draws on personal experiences, viewers are encouraged to interpret its meaning for themselves. This is the beauty of cinema: finding personal significance or simply enjoying the story as it is. I see the film as capturing what it truly feels like to be genuinely seen. Kris, who is deeply defined by her role as a filmmaker, begins her true journey when Billy examines what truly drives her.

But Kris isn’t alone; Billy also faces misunderstanding in her post-actress era, stemming from her experiences on the set of Camp Miasma. These two women are drawn to each other by this shared experience, which is central to the film’s narrative. I imagine the choice to name the killer “Little Death” wasn’t accidental: it is a slang term for orgasm, a fact I learned from trivia about the song ‘I Just Died in Your Arms Tonight.”

There is so much to unpack in the themes, but it would lead into spoiler territory, so I’ll let you see the film for yourself and dive into that aspect another day.

The narrative leans into its campy side, another trope of the old slasher movies. While it is unsettling at times, the dark humor and wit keep the narrative from being overwhelmed by the strangeness of it all, which is why this will not be for everyone. I strongly recommend that you have an open mind and appreciate pushing boundaries if you want to see this movie.

While it isn't scary, its surreal, dreamlike quality, combined with sexual themes, affected me the most. Sex remains a taboo topic, though less so than in the past, and societal attitudes still need to evolve—films like this can help challenge those boundaries. Any movie that makes me feel any emotion, even if I’m uncomfortable, is a good movie in my opinion.

My only criticism is that the story lost its footing in the middle. The buildup of tension and dread was abruptly halted, losing steam and momentum. Thankfully, the third act makes up for that with a crescendo of action and a finale that truly chilled me and gave me butterflies at the same time. An incredible odd combo, but there are no rules when it comes to horror and art!

That said, the runtime could have been a bit shorter than 112 minutes, and the ambiguous ending could have been less rushed. When the credits rolled, I had to look up “ending explained” to make sense of what I had just seen. Still, these are minor nitpicks because, overall, I was incredibly impressed.

I rate Teenage Sex and Death at Camp Miasma 4.5 out of 5 stars. I recommend it to horror enthusiasts who enjoy classic 80s slasher films and appreciate an artsy, allegorical take on cinema and the human experience. This is one of those movies I thought about and researched for days afterward, which I love to do. If you like a movie that challenges you, this is the film for you. I can only imagine how beautiful it would be on the big screen.

I don’t say this often, but I can see myself revisiting Camp Miasma again now that the initial viewing has settled, so I can decipher it even more.

Until then, I will be diving into Schoenbrun’s other feature films to better understand their vision, mind, and artistic expression, which I find truly fascinating… and maybe sprinkling in The Burning (1981) or Intruder (1989) along the way….

…because balance.

You can see Teenage Sex and Death at Camp Miasma in limited theaters now, nationwide starting August 21.

https://www.youtube.com/watch?v=dimCiC_hdoA