‘Teenage Sex and Death at Camp Miasma’ pushes horror to new queer heights

Jane Schoenbrun's latest film blurs lines between horror, comedy, and queer identity.

Told by Paige Turner · 29 August 2026

In the realm of horror, few titles encapsulate their essence like ‘Teenage Sex and Death at Camp Miasma’. Directed by the visionary trans filmmaker Jane Schoenbrun, this film takes audiences on a wild ride through a blend of dark comedy, slasher tropes, and queer narratives. With a backdrop of campy nostalgia, it pushes the boundaries of what a horror film can be.

At its core, the plot revolves around a young non-binary director, Kris Williams (played by Hannah Einbinder), who is tasked with remaking an iconic 1980s slasher film. In her quest to revive the franchise, she seeks the help of its former star, Billy Presley (the ever-fabulous Gillian Anderson), now a recluse living in a snowbound cabin that doubles as the original filming location. The dynamic between Kris and Billy transcends mere professional collaboration; it evolves into a complex relationship that navigates age differences and shared obsessions.

Schoenbrun's film is not just a retelling of horror conventions; it deftly critiques the very industry it is part of, embracing a meta-narrative that plays with audience expectations. The film is a playful homage to classic slasher films while simultaneously dismantling their tropes, making it a commentary on queer joy and identity in an often unwelcoming landscape.

The film's depth is amplified by its unique characters and performances. Einbinder and Anderson's chemistry transforms the narrative into a captivating exploration of intimacy, mentorship, and the specter of fame. With supporting roles that include cameos from Kevin MacDonald and Dylan Baker, the film is peppered with wit and charm.

Ultimately, ‘Teenage Sex and Death at Camp Miasma’ is a celebration of queer narratives within the horror genre, delivering a message of liberation and acceptance woven into its chilling fabric. Come for the jump scares, stay for the cultural commentary—this film is one to watch.