All articles tagged with #jane schoenbrun
Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma uses a meta-slashers framework to explore overcoming sexual trauma, presenting a queer romance where desire is treated as safe play and noting that if things get too real, you can turn it off.
Variety details Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma, highlighting a bloody, multi-location one-take sequence where Little Death massacres a summer camp to Counting Crows’ A Long December. Cinematography by Eric Yue and editing by Graham Mason combine practical effects, an iPhone Steadicam workflow, and heavy VFX to create a heightened, POV-shifting ballet that fits the film’s queer-forward lens. The piece also notes an ambitious opening title sequence and world-building, with the film currently playing in select theaters via Mubi.
Director Jane Schoenbrun uses nostalgia and ritual to deconstruct the slasher genre, framing fear and desire as interconnected and exploring trans identity through candy, campy spectacle, and a meta-horror lens in Teenage Sex and Death at Camp Miasma.
Jane Schoenbrun's meta-horror Camp Miasma is a witty, bloody romance about reclaiming desire and liberation, anchored by Gillian Anderson’s flamboyant Billy and Hannah Einbinder’s anxious Kris. Through a film-within-a-film framework and sharp satire of the movie industry, it blends inventive horror visuals with emotional depth, turning familiar slasher tropes into a doorway out of isolation and loneliness while celebrating cinema’s power to transform us.
Ahead of the August 7 release of Teenage Sex and Death at Camp Miasma, MUBI and Mutant are selling retro merch for a fictional 14-film Camp Miasma franchise, including VHS sleeves and a 12-card trading card pack. VHS tapes aren’t included since the films aren’t real, but the sleeves and cards are for display. The full sleeve set costs $40 and the card pack $10, with additional items like posters, T-shirts, and a cap also available. The film stars Hannah Einbinder and Gillian Anderson and is produced by Mubi and Plan B Entertainment; pre-orders are open through Mutant’s shop.
Jane Schoenbrun’s new meta-slasher, Teenage Sex and Death at Camp Miasma, uses a scholarly gaze on horror to unpack beloved franchises—Psycho, Psycho II, Nightmare on Elm Street 3, Evil Dead II, and Friday the 13th Part 2—while exploring reboot culture, queer-coded desire, and the film’s dreamlike, cinematic play between image and longing.
Hannah Einbinder shifts from Hacks to Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma, playing a queer director who becomes obsessed with Gillian Anderson’s ‘final girl’ in a cross-generational, psychosexual drama that riffs on horror’s sex-and-power tropes; Schoenbrun’s third feature opens August 7 and uses the final girl concept to explore identity, sexuality, and messy creative dynamics.
At Cannes, Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma opens in Un Certain Regard as a deeply personal, queer meditation on sex, trauma, and healing. In a Q&A, Schoenbrun discusses drawing from their own journey as a trans, nonbinary creator, the film’s provocative, intimate sex scenes, and its aim to provoke conversation about consent and America’s sexual psyche, with standout performances by Hannah Einbinder and Gillian Anderson.
Jane Schoenbrun’s Cannes 2026 film Teenage Sex and Death at Camp Miasma turns a retro slasher into a sharp, compassionate meditation on nostalgia, gender trauma, and queer desire, anchored by Gillian Anderson’s presence and Hannah Einbinder’s performance, with lush visuals and wry humor.
At Cannes, Jane Schoenbrun discussed their new film Teenage Sex and Death at Camp Miasma with Hannah Einbinder and Gillian Anderson, describing it as a bloody, funny queer slasher. The story follows Kris, a director hired to reboot a problematic ’80s franchise, whose meeting with Billy Presley spirals into a psychosexual exploration of sexuality and identity. Schoenbrun, who is trans nonbinary, frames the project as “about as commercial as I can do,” while the cast shares personal connections to horror and coming‑of‑age themes. MUBI will release the film theatrically on August 7, 2026. The full panel is available in video form, and the interview ties Schoenbrun’s own journey to the film’s themes of self-discovery and sexuality.
Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma will embark on a summer “Camp Is in Session” screening tour in June–July, hitting NewFest, Provincetown, Fantasia, and other venues ahead of its August 7 release on MUBI; the Cannes‑praised film stars Hannah Einbinder, with themes expanding gender dysphoria and sexuality in a cerebral, genre‑bending horror setting.
At Cannes, Jane Schoenbrun's horror film Teenage Sex and Death at Camp Miasma received a warm reception, including a near-six-minute standing ovation after its Debussy Theatre world premiere; the reboot-focused slasher, starring Einbinder and Anderson, aims to spark conversations about sex, gender, and trauma and will be released by Mubi on August 7, 2026.
At Cannes, Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma uses a fictional 1980s slasher as a surreal conduit to explore self, sexuality, and identity, blending arthouse abstraction with sharp humor. Led by Hannah Einbinder and Gillian Anderson, the film is strange and sometimes alienating but emotionally resonant, ultimately offering a generous, self-revealing meditation on body, desire, and writing one’s own story.
Director Jane Schoenbrun included a 90s Nickelodeon Easter Egg in the horror film "I Saw the TV Glow," catering to fans of "The Adventures of Pete & Pete." The movie also features references to Buffy and moments reminiscent of pre-smartphone era. The cast includes Snail Mail’s Lindsey Jordan, Amber Benson, Fred Durst, Brigette Lundy-Paine, Helena Howard, and Danielle Deadwyler, with a premiere at Sundance and distribution by A24 later this year.
"I Saw the TV Glow" is an earnest and astonishingly beautiful art-horror film that follows the lives of two lonely teenagers and explores the director's own feelings about gender. Set in 1990s suburbia, the movie envelops the audience in a surreal and nostalgic haze, transforming mundane scenes into Day-Glo dreamscapes. With heart-rending performances from its stars, the film speaks to the experiences of lonely teenagers, past and present, establishing writer-director Jane Schoenbrun as a major cinematic talent.