So…a film about rebooting a slasher franchise directed by a cinephile filmmaker (Schoenbrun) known for putting references in their movies (click here and here to read my thoughts Jane on Schoebrun’s other films). If you go in to a movie like this expecting to not get an obvious nod or a tip of a hat to something like Friday The 13th then you’re being disingenuous.
| Friday The 13th / Teenage Sex and Death at Miasma |
I just find the glow of a screen to be appealing. It's something that I very naturally gravitate toward, in the way that David Cronenberg gravitates toward body horror - Jane Schoebrun, The Hollywood Reporter
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| Videodrome / Teenage Sex and Death at Miasma |
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| Videodrome / Teenage Sex and Death at Miasma |
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| Persona / Teenage Sex and Death at Miasma |
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| Persona / Teenage Sex and Death at Miasma |
To David Lynch and Shinya Tsukamoto
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| Tetsuo The Ironman / Teenage Sex and Death at Camp Miasma |
Between when I was a kid and watched Twin Peaks for the first time and when the show got rebooted in 2017, I just had recurring nightmares about it- Jane Schoenbrun, Inverse.com
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| Twin Peaks / Teenage Sex and Death at Camp Miasma |
I’m a big fan of thinking of a film as infinitely deep. I think I got that from [David] Lynch - Jane Schoenbrun, Letterboxd
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| Inland Empire / Teenage Sex and Death at Camp Miasma |
All four filmmakers have explored topics like body horror, body dysmorphia, gender reassignment, queerness and more. It makes sense that a queer filmmaker like Schoebrun would pull from these folks. Her films deal with a lot of the same topics.
These influences are also connected to each other as Bergman's imagery coincidentally influenced Lynch who influenced Tsukamoto. Tsukamoto was also heavily inspired by Cronenberg. Cronenberg and Lynch have always been compared to each other or mentioned in the same writings and reviews for decades.
I acknowledge that some of my comparisons are a little surface level but when you consider everything I've laid out - even the most seemingly surface-level comparisons have a good amount of depth no matter how basic they may seem at first glance.
Referencing something like Friday The 13th is an easy layup. Teenage Sex and Death at Camp Miasma is really a reassessment of some of the themes in Sleepaway Camp (1983). The backstory of the killer in the Camp Miasma franchise, "Little Death", was raised both male and female by their parents. In Sleepaway Camp, we come to find out that the killer is trans. I am greatly simplifying the plots to both films in hopes you will seek them out if you haven’t seen them. I’ve said this before and I’ll say it again – I’m not a fan of movies being made out of ironic/cynical film twitter or letterboxd talking points. But, again, this is the exception. Sleepaway camp found a new audience years after it’s initial release. Young queer and open-minded cinephiles took to platforms like twitter, medium and various podcasts to reassess what they felt were queer themes in the film. Every once in a while a young generation of film fans discovers an older film with a plot or subplot that was ahead of its time and not handled correctly during the film’s initial audience. Sometimes it takes young millennials or Gen Zers to catch something that Baby Boomers or Gen-Xers missed. Trans stories in film are still a bit taboo and/or misunderstood in 2026 so imagine a 40+ year old movie like Sleepaway Camp being exposed to mainstream audiences expecting to see another Friday the 13th.
There is a very meta aspect to this movie. It’s clear that elements of Kris represents Jane Schoenbrun. Kris trying to breathe new life in to a slasher film with queer themes is clearly Schoenbrun herself working this all out with her own movie. Hannah Einbinder's performance as "Kris" also mirrors her character in Hacks (an aspiring sexually fluid filmmaker that gets in to a complicated relationship with an older established female celebrity).
It’s no mystery that I’m a Jane Schoenbrun fan and Teenage Sex and Death at Camp Miasma is no different. This is her most ambitious project to date. But it isn’t for everyone. I think “outsiders” of all kinds will gravitate towards this in the same way they did to Schoenbrun’s previous films. I feel like when the dust settles on this there will be a huge generational contrast between how this it's received. Again – the young millennials and Gen-z folk that I referenced earlier with appreciate this while Baby Boomers and older Gen-xers might jus brush this off as nonsense. Considering I just missed Gen-x and am one of those older millennials raised by Baby Boomers that feels like they don’t have any connection to younger millennials – perhaps that’s why I have a potentially unique perspective on this.
Referencing something like Friday The 13th is an easy layup. Teenage Sex and Death at Camp Miasma is really a reassessment of some of the themes in Sleepaway Camp (1983). The backstory of the killer in the Camp Miasma franchise, "Little Death", was raised both male and female by their parents. In Sleepaway Camp, we come to find out that the killer is trans. I am greatly simplifying the plots to both films in hopes you will seek them out if you haven’t seen them. I’ve said this before and I’ll say it again – I’m not a fan of movies being made out of ironic/cynical film twitter or letterboxd talking points. But, again, this is the exception. Sleepaway camp found a new audience years after it’s initial release. Young queer and open-minded cinephiles took to platforms like twitter, medium and various podcasts to reassess what they felt were queer themes in the film. Every once in a while a young generation of film fans discovers an older film with a plot or subplot that was ahead of its time and not handled correctly during the film’s initial audience. Sometimes it takes young millennials or Gen Zers to catch something that Baby Boomers or Gen-Xers missed. Trans stories in film are still a bit taboo and/or misunderstood in 2026 so imagine a 40+ year old movie like Sleepaway Camp being exposed to mainstream audiences expecting to see another Friday the 13th.
There is a very meta aspect to this movie. It’s clear that elements of Kris represents Jane Schoenbrun. Kris trying to breathe new life in to a slasher film with queer themes is clearly Schoenbrun herself working this all out with her own movie. Hannah Einbinder's performance as "Kris" also mirrors her character in Hacks (an aspiring sexually fluid filmmaker that gets in to a complicated relationship with an older established female celebrity).
It’s no mystery that I’m a Jane Schoenbrun fan and Teenage Sex and Death at Camp Miasma is no different. This is her most ambitious project to date. But it isn’t for everyone. I think “outsiders” of all kinds will gravitate towards this in the same way they did to Schoenbrun’s previous films. I feel like when the dust settles on this there will be a huge generational contrast between how this it's received. Again – the young millennials and Gen-z folk that I referenced earlier with appreciate this while Baby Boomers and older Gen-xers might jus brush this off as nonsense. Considering I just missed Gen-x and am one of those older millennials raised by Baby Boomers that feels like they don’t have any connection to younger millennials – perhaps that’s why I have a potentially unique perspective on this.
