All articles tagged with #teenage sex and death at camp miasma
Insidious: Out of the Further is the weekend’s marquee theatrical release, with Toy Story 5 now available to rent or buy and The Christophers streaming on Hulu; the lineup also includes nationwide expansions for Jane Schoenbrun’s Camp Miasma, the Anthony Bourdain biopic Tony, and Matthew McConaughey’s The Rivals of Amziah King, plus other streaming and rental options.
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.
A slate of specialty titles rolls out this weekend: Matt Johnson’s Tony, a teenage Anthony Bourdain origin story opening in six theaters with a wider rollout soon, leads a dynamic indie weekend alongside Jane Schoenbrun’s Teenage Sex And Death At Camp Miasma (already drawing strong buzz) and Kent Jones’s Late Fame with Willem Dafoe; the lineup also includes several documentaries and festival titles like Cookie Queens, The Big Cheese, Olmo, Last Picture Shows, and CatVideoFest, illustrating a vibrant, limited-release indie scene.
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.
Vulture’s Cannes 2026 roundup highlights eight standout titles that leaned into queer energy and lean storytelling, from Teenage Sex and Death at Camp Miasma to Fjord and The Black Ball, celebrating bold directorial voices and compact runtimes at a festival that felt smaller but still provocative.
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.
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 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.
Hannah Einbinder and Gillian Anderson discuss Jane Schoenbrun’s Cannes-bound queer horror Camp Miasma (Teenage Sex & Death at Camp Miasma), with Einbinder describing how intense, fear-driven scenes pushed her to confront desire and trauma, and Anderson praising the film’s blood-soaked exploration of identity, pleasure, and belonging as Kris revives an ’80s slasher while navigating marginalized communities and fandom.