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Teenage Sex and Death at Camp Miasma
MUBI MUBI
Plan B Entertainment Plan B Entertainment

Not part of a collection.

Teenage Sex and Death at Camp Miasma

Blood. Lust.

2026 • 112 min • ★ 6.7 (108) • Released
Comedy Horror Romance

Handed the reins to resurrect a dying slasher franchise, an enthusiastic young director visits the original film's reclusive star, only to be dragged into a blood-soaked world of obsession, desire, and delirium.

Original title
Teenage Sex and Death at Camp Miasma
Language
EN
Country
US
Budget
$8,000,000
Revenue
$7,533,008
Reviews & Ratings 5
Zeus

Zeus

Oct 10, 2026 · via TMDB

★ 4.0

4/10 stars review ratings from me. It feels ancient its like watching Blair Witch Project its just without the camera shocking and screaming that is. Just a faint interest to watch the movie till the end not because in is interesting ... its more like a faint curiosity and thats that.

Nick

Nick

Oct 6, 2026 · via TMDB

★ 8.0

Horny, bloody, queer, hilarious, and completely unafraid to get weird. I loved how it takes the sleazy summer camp slasher and turns it into something surprisingly personal and sweet without losing all the gore and ridiculousness. Gillian Anderson is having an absolute blast, and Hannah Einbinder is great alongside her. It gets a little too caught up in its own ideas sometimes, but I honestly didn't care. Such a strange, messy, funny fever dream of a movie.

Yasmin J. Lee

Yasmin J. Lee

Sep 25, 2026 · via TMDB

★ 10.0

# Analysis of Jane Schoenbrun’s “Teenage Sex and Death at Camp Miasma” (2026) ### “I saw ya and wanted to scare ya. It’s only fair, right? You already seen me.” It is no secret that Jane Schoenbrun (they/them) references pop culture throughout their filmography. The Pink Opaque of *I Saw the TV Glow* (2024) was derivative of *Buffy the Vampire Slayer,* while *Teenage Sex and Death at Camp Miasma* (2026) nodded to slasher flicks ranging from *Peeping Tom* (1960) to *Wes Craven’s New Nightmare* (1994) and *Sleepaway Camp* (1983). Beneath the references and homages, Schoenbrun also engages with time, pushing audiences to stay present in their stories and in themselves. By referencing essential slashers and confronting time, Schoenbrun puts their work in direct conversation with the genre’s aesthetics and flaws, using time as an open door to opportunity and rebirth throughout their latest horror film, *Teenage Sex and Death at Camp Miasma* (2026). Schoenbrun crystallizes and confronts their love for the slasher subgenre in *Teenage Sex and Death at Camp Miasma* (2026). It is apparent that, while holding slashers in high regard, Schoenbrun is critical of the genre as vastly male-centered. Most, if not all, weapons in slasher films are phallic objects; statistically, a young female character is often the first to die, and women experience significantly more prolonged, graphic, and severe violence on-screen. Rather than criticizing the genre as a whole, Jane Schoenbrun takes on the challenge of queering the genre. For instance, in *Teenage Sex and Death at Camp Miasma,* the depiction of orifices is prevalent. Little Death’s VHS tape player at the bottom of the lake resembles a vaginal opening. The air conditioning unit on his head is like a portal that still honors the motif of most horror film killers being modeled after blue-collar workers. Little Death even wears a white-vinyl raincoat suit reminiscent of Patrick Bateman from Mary Harron’s *American Psycho* (2000). > e.g., Jason Voorhees of *Friday the 13th* wears rugged groundskeeper clothes; Michael Myers of *Halloween* wears iconic navy-blue mechanic coveralls; Leatherface of *The Texas Chain Saw Massacre* dons slaughterhouse/butcher work clothes. (MorphCostumes Team, “Why Michael Myers is the Ultimate Horror Costume.”) In addition to the previously listed images, Schoenbrun also represents orifices as portals. The barn and movie theater openings, the parting of the silver-screen curtains, and the gas station setting all operated as portals into meaningful chapters of the story. One of the film’s most recognizable female-centered images is the infamous dipping sauce scene. Gillian Anderson’s Billy Presley thumps her pink-painted nail against the dipping sauce flab as Kris Williams (Hannah Einbinder, character pronouns she/they) licks her lips with anticipation. The honey mustard sauce is revealed to the audience before a chicken tender is dipped into its golden wonder. Schoenbrun depicts this otherwise mundane dinner as a ritualistic, orgasmic experience of intimacy between Kris and Billy. The female gaze is further complicated when Billy recounts her first orgasm to Kris. As helpless slasher-flick victims, the femme characters can see themselves through Little Death’s perspective. This queering of perspective complicates what the camera captures, especially in the slasher genre. Rather than objectifying the lead femmes to the masculine, heterosexual perspective, Schoenbrun’s perspective externalizes their sexual repression. This tension releases when they become both voyeur and submissive participants who are aware of the role they’re playing. As they shift between voyeur and victim, the film’s thesis emerges in a brief exchange between Kris and Billy about Kris’s debut feature film. Billy states Kris’s film is a remake of Alfred Hitchcock’s *Psycho* (1960) from the perspective of the shower curtain. Initially, Kris is offended by this interpretation, not realizing it’s the key to their entire experience at Camp Miasma. As Laure Murat once stated in their essay, “What’s Queer about Remy, *Ratatouille*, and French Cuisine?” > “The spatial transgression of hierarchies and the visual omniscience of \[the character’s\] position confound binary constructions while acknowledging their power.” (p. 138) The shower curtain is the translucent barrier between the victim and the slasher. Kris, like the shower curtain, occupies a bifurcated space when they subject themselves to the perspective of Little Death while expressing their sexuality. Upon revisiting the film’s opening, the hack-screenwriter, Kris, enters the gas station with hungry eyes, snagging their favorite candy off the racks. The gas station sits between worlds: both destination and journey. In the third act, having survived the night of terror hosted by Little Death, Kris and Billy return to the gas station to stock up on their gummy candies. These final moments of *Teenage Sex and Death at Camp Miasma* ask audiences to savor their pleasures and desires like candy. There are no clean conclusions for this tale of gender euphoria and escapism. This natural desire for an ending prompts audiences to ponder the story’s moral, fearing they may have missed it at first. By enjoying both the film’s ephemeral sweetness, the consumer accepts its conclusion and, hopefully, the moments that pleased them and felt representative of them. Using evanescent metaphors and making the characters cognizant of the passage of time, Schoenbrun presents a conclusion that denotes progress without answers: Time. Time does not give you an answer. It simply measures. *Enjoyed this review? Subscribe to my Substack (Snowy Reviews, by Yasmin) and give me a follow (@yasminthewriter) on Letterboxd, and see what I review next!*

Sierbahnn

Sierbahnn

Sep 20, 2026 · via TMDB

★ 6.0

This did not hit the way I thought it would, and I am pleasantly surprised. If you are not into some rather "out-there" stuff this might not be for you, because this is not your average slasher with a fun twist. This is a deeply strange, surrealistic meta-delving 'deconstruction' (gosh that term gets overused) take on the genre, through a strange character's journey. It is a mess and a fun one at that. If you are not up for this rather ballsy and cerebral thing you should just stay away as this is not for you, but if you are in the mood for slasher with a side of mind-bend coupled with some very strange sexual takes, then you should go for this.

CinemaSerf

CinemaSerf

Aug 27, 2026 · via TMDB

★ 6.0

"Kris" (Hannah Einbinder) has managed to convince some investors to consider funding her attempt to resurrect a dated horror fanchise set at a remote holiday camp. To that end, she has tracked down the woman who was the original damsel in distress in the series's very first outing decades ago. "Billy" (Gillian Anderson) has been fairly reclusive ever since that first success, and has retreated to live at the very camp in which the films were based. Now in the depths of winter, "Kris" braves the snowy conditions to pay her a visit - and her arrival at the eerily silent camp sets in train quite an emotionally and psychologically charged few hours with her enigmatic hostess. I think my problem with this stemmed from the decision of auteur Jane Schoenbrun to put her own experiences front and centre here and rather leave the mysterious substance of the plot to play second fiddle to that. Clearly, this is a film-maker who has had their fair share of struggles to get her often quite eclectically structured (i.e. last year's "I Saw the TV Glow") films funded and made, and so coupled with a sexual fluidity that neither Einbinder nor the underused Anderson are afraid to commit to, this became more of a commentary of a character with whom I couldn't really engage set against an half-baked critique of the repetitious slasher-genre upon which this tries to make it's money. The threads do come together a little more completely towards the conclusion, but I think by exploiting so many of the clichés and photographic tecnhiques of films like "Halloween"; "Friday the 13th" or even the more recent "Black Phone" sequel, and presenting a paucity of meaningful dialogue, this sort of falls into it's own trap of introspective mediocrity rather than "elevating" itself from the more generic quag.

User reviews courtesy of TMDB.

Keywords 40
absurd actress affectation audacious bold camp camp counselor candid casting celebratory complex distorted reality euphoric filmmaker final girl hilarious hopeful independent film lesbian relationship lgbt loss of virginity marijuana meta nonbinary director older woman younger woman relationship polyamory provocative psychosexual recluse remake satire serial killer sexuality slasher talent agent thoughtful transgender transphobia trauma zoom call
Cast 32
Hannah Einbinder

Hannah Einbinder

Kris

Gillian Anderson

Gillian Anderson

Billy

Amanda Fix

Amanda Fix

Young Billy

Arthur Conti

Arthur Conti

Alex

Eva Victor

Eva Victor

DJ Ella Giastic

Zach Cherry

Zach Cherry

Will

Sarah Sherman

Sarah Sherman

Kris' Agent

Patrick Fischler

Patrick Fischler

Rudolph

Dylan Baker

Dylan Baker

Jeffrey

Jasmin Savoy Brown

Jasmin Savoy Brown

Mari

Quintessa Swindell

Quintessa Swindell

Julie

Kevin McDonald

Kevin McDonald

Anthony / County Sheriff

Jack Haven

Jack Haven

Little Death

Aren Buchholz

Aren Buchholz

Thor

Jordana Summer

Jordana Summer

Doomed Teen Girl

Ryan McEwen

Ryan McEwen

Doomed Teen Boy

William Vaughan

William Vaughan

Squash Bro

Hunter Dillon

Hunter Dillon

Chuck

Jess McLeod

Jess McLeod

Tracy

Willy McGee

Willy McGee

Male Executive

Louise Weard

Louise Weard

Queer Assistant

Cassandra Ebner

Cassandra Ebner

Doomed Wife

Avalon Fast

Avalon Fast

Camp Counselor (uncredited)

Avalon Fast

Avalon Fast

Camp Counselor (uncredited)

Henri Gillespi

Henri Gillespi

Camp Counselor (uncredited)

Henri Gillespi

Henri Gillespi

Camp Counselor (uncredited)

Cherry Moore

Cherry Moore

Camp Counselor (uncredited)

Cherry Moore

Cherry Moore

Camp Counselor (uncredited)

Austyn Van de Kamp

Austyn Van de Kamp

Camp Counselor (uncredited)

Austyn Van de Kamp

Austyn Van de Kamp

Camp Counselor (uncredited)

Jane Schoenbrun

Jane Schoenbrun

Director (uncredited)

Eric K. Yue

Eric K. Yue

Cinematographer (uncredited)

Crew 41
Brandon Tonner-Connolly

Brandon Tonner-Connolly

Production Design

Matt Hyland

Matt Hyland

Production Design

Mila Matveeva

Mila Matveeva

Title Designer

Eric K. Yue

Eric K. Yue

Director of Photography

Maja Aro

Maja Aro

Stunt Coordinator

Michelle Christa Smith

Michelle Christa Smith

Stunt Double

Rochelle Okoye

Rochelle Okoye

Stunt Double

Alice Maio Mackay

Alice Maio Mackay

Thanks

Amy Zimmer

Amy Zimmer

Thanks

Aoife Josie Clements

Aoife Josie Clements

Thanks

Avalon Fast

Avalon Fast

Thanks

Elizabeth Purchell

Elizabeth Purchell

Thanks

Hazel Norwood

Hazel Norwood

Thanks

Louise Weard

Louise Weard

Thanks

Luca Intili

Luca Intili

Thanks

Odessa Young

Odessa Young

Thanks

Vera Drew

Vera Drew

Thanks

Zia Anger

Zia Anger

Thanks

Dylan Castro

Dylan Castro

Assistant Director Trainee

Jane Schoenbrun

Jane Schoenbrun

Director

Sepi Mashiahof

Sepi Mashiahof

Script Coordinator

Graham Mason

Graham Mason

Editor

Jacqui Kaese

Jacqui Kaese

Background Casting Director

Courtney Bright

Courtney Bright

Casting

Nicole Daniels

Nicole Daniels

Casting

Jennifer Brooks

Jennifer Brooks

Casting Associate

Christina Wood

Christina Wood

Co-Producer

Neil Mathieson

Neil Mathieson

Co-Producer

Willy McGee

Willy McGee

Co-Producer

Brad Pitt

Brad Pitt

Executive Producer

Caddy Vanasirikul

Caddy Vanasirikul

Executive Producer

Daniel Bekerman

Daniel Bekerman

Executive Producer

Efe Çakarel

Efe Çakarel

Executive Producer

Jason Ropell

Jason Ropell

Executive Producer

Zane Meyer

Zane Meyer

Executive Producer

Dede Gardner

Dede Gardner

Producer

Jeremy Kleiner

Jeremy Kleiner

Producer

Alex G

Alex G

Original Music Composer

Arjun G. Sheth

Arjun G. Sheth

Sound Effects Editor

Paul Buchanan

Paul Buchanan

Vocals

Jane Schoenbrun

Jane Schoenbrun

Writer

Gallery 186
Videos 30
Similar Movies 888
Recommended 65
US Release Dates 11

Jun 1, 2026

NewFest Pride

Premiere

Jun 11, 2026

Provincetown International Film Festival

Premiere

Jun 27, 2026

San Francisco International LGBTQ+ Film Festival

Premiere

Jul 10, 2026

MUBI Fest Chicago

Premiere

Jul 29, 2026

Los Angeles, California

R Premiere

Aug 5, 2026

New York City, New York

R Premiere

Aug 7, 2026

New York City, New York / Los Angeles, California

R Theatrical (Limited)

Aug 14, 2026

Limited expansion

R Theatrical (Limited)

Aug 21, 2026

R Theatrical

Sep 7, 2026

Telluride Film Festival

Premiere

Sep 22, 2026

R Digital

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Crystal Blue

Crystal Blue

2026

VS
New York Dolls: All Dolled Up

New York Dolls: All Dolled Up

2005

Sign in to vote

Battle your watched movies head-to-head

Community Top Movies

🥇 Evil Dead II

Evil Dead II

1987 · 14 wins

🥈 The Dark Knight

The Dark Knight

2008 · 14 wins

🥉 Halloween

Halloween

1978 · 13 wins

#4 Final Destination

Final Destination

2000 · 12 wins

#5 Halloween II

Halloween II

1981 · 11 wins

Sign in to build your own ranking
0 Points
0/0 Correct
0 Streak

Playing as a guest — sign in to save your score and rank on the leaderboard.

Movie Trivia

Guess the movie from a clue — tagline, plot, cast and more. Pick from four posters.

What movie experience do you prefer?

Movie theater — theater popcorn with Icee/soda & maybe nachos 60%
At home — relaxed on your favorite couch or chair with whatever drinks & snacks are in the kitchen 40%
5 votes

What is your favorite movie genre?

Action 50%
Adventure 0%
Animation 0%
Comedy 0%
Crime 0%
Documentary 0%
Drama 0%
Family 0%
Fantasy 0%
History 0%
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