Fantasia Fest 2026: Teenage Sex and Death at Camp Miasma Review

This will be one of many reviews during this year’s Fantasia International Film Festival, to keep up with our latest coverage, click here.

Jane Schoenbrun’s We’re All Going to the World’s Fair and I Saw the TV Glow are remarkably poignant stories that exhibited such powerful tales about identity – through the lens of their characters’ obsession with different forms of media, identified as part of their Screen Trilogy. They continue these compelling themes and expand upon such important subject matter on an opulent scale with Teenage Sex and Death at Camp Miasma. Kris (Einbinder), a young enthusiastic filmmaker, is tasked with directing a reboot of a horror franchise called Camp Miasma. Similar to Schoenbrun’s depictions of media-enamored individuals, Kris is deeply infatuated with casting reclusive actress Billy Presley (Anderson), who portrayed the final girl in the original film.

Schoenbrun is clearly satirizing the Friday the 13th franchise – however exceptionally honoring the impact of slasher film pop culture, while still challenging its problematic attributes. Showcased through a spectacular opening title sequence, they exhaustively establish the fictional franchise’s effect on this world’s pop culture, emulating the success of real franchises and setting the tone for Kris’ motivation to change the norm for slasher films. This sequence also demonstrates Schoenbrun’s pristine awareness of the trajectory of slasher films in pop culture, ranging from casting news, the development of sequels, a comprehensive line of merchandise, and even a Quibi reference.

Kris, as a young LGBTQ+ filmmaker, is determined to deliver a fresh take on this franchise, as she ventures out into the Pacific Northwest wilderness to find Billy. From there, she finds Billy living at the abandoned camp used to film the franchise, riddled with relics of the films’ past. As Schoenbrun mainly focuses on the dynamic between these two, their profound writing behind Kris’ discovery of identity and sexuality throughout her conversations with Billy excels in a deeply thought-provoking manner that balances these important themes amongst the duo’s engaging discourse, their brilliant comedic timing on the page, and the film’s outlandish gore.

Einbinder outstandingly elevates the film with comedic timing, through Kris’ unnerving responses to Billy’s mysterious southern charm, which Anderson accomplishes with tremendous ease. Anderson, in particular, delivers another career-defining performance as Presley, conveying an astoundingly nuanced character that pairs naturally with Einbinder’s vulnerability and complexity behind Kris – a dynamic which Schoenbrun achieves through meticulous attention and support towards the unraveling of their emotional connection and the weight of such themes as identity, sexuality, and desire.

Schoenbrun’s recreation of a conventional ‘80s slasher film, through Billy’s private screening of one of Camp Miasma’s original prints, elevates Kris’ understanding of Billy’s attachment to the film, allowing her to explore her identity and sexuality in ways she never thought possible. This recreation highlights Schoenbrun’s replication of the genre – in all of its good and bad traits – as the well-designed killer Little Death (Jack Haven) unleashes the film’s stylish gore on the unsuspecting campers. The absurdist amounts of gore add to the organically funny instances of the film that allow audiences to enjoy such carnage at just the right moments. Schoenbrun makes precise use of their incredible cast, where every supporting character has the opportunity to shine – between the campers, network executives, and character actors such as Patrick Fischler and The Kids in the Hall alumnus Kevin McDonald.

Overall, Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma is a thoughtful homage to ‘80s slasher films that honors their impact, while unafraid to challenge its flaws. Schoenbrun’s meaningful portrayal and discussion of identity, sexuality, and desire enriches this incredible satire, as Einbinder and Anderson’s dynamic amplifies the film in all of their complexities and vulnerabilities. Phenomenal set design, outlandish gore, and brilliant comedic relief complement their important depiction of powerful themes. Frankly, they knocked it out of the park, and audiences should be excited to see what Schoenbrun does next.

still courtesy of MUBI

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Costa Christoulas

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