Jane Schoenbrun, known for their introspective and isolated characters, has taken a dramatic turn with their latest film, Teenage Sex and Death at Camp Miasma. This new work shifts focus from the internal struggles of their previous films to the physical and sensual interactions of its characters. Schoenbrun’s earlier films, We’re All Going to the World’s Fair and I Saw the TV Glow centered around characters who sought self-actualization through digital media, often in isolation.
The director’s new film, released in 2026, is a departure from this theme, emphasizing the physicality of human interactions. Schoenbrun described their intention to create a body movie rather than a head movie focusing on the movement and interaction of bodies. This shift is evident in the film’s exploration of both violent and ecstatic physical encounters.
Reviving a Dormant Franchise
The film opens with the resurrection of the long-dormant Camp Miasma franchise, a task given to anxious queer filmmaker Kris, played by Hannah Einbinder. The opening credits humorously highlight the franchise’s janky lifecycle, including a nod to the dismal box-office returns of Friday the 13th sequel Jason Takes Manhattan. Schoenbrun notes the self-cannibalizing nature of Hollywood’s reboot culture, where studios repeatedly reboot failed sequels.
Kris, who has a deep connection to the original movie, seeks out the franchise’s elusive original final girl, Billy Preston, portrayed by Gillian Anderson. Billy, who left the industry after the first film, has been haunting the filming site, Camp Tivoli, even in winter. Her character is a stark contrast to Kris, serving as the audience surrogate in the film’s heightened world.
Themes of Identity and Sexuality
The film delves into the complex relationship between Kris and Billy, exploring themes of identity, sexuality, and the legacy of the Camp Miasma franchise. Kris’ connection to Billy runs deeper than securing a cameo, and the series’ big bad, Little Death, played by Jack Haven, is revealed to be more than just a bygone illustration of the infamous trans killer trope. Little Death’s imagination fuels each film’s grisly revelry, adding a layer of complexity to the narrative.
Schoenbrun’s personal journey, including their coming out and gender transition, has significantly influenced their filmmaking. Their previous films, shaped by these experiences, capture the early days of self-actualization. In contrast, Camp Miasma tracks the messy, often-joyful process of coming into one’s own body in the years that follow. This personal evolution is reflected in the film’s playful and sensual scenes, which Schoenbrun describes as the emotional core of the film.
Cultivating Emotional Collaborations
Schoenbrun’s approach to filmmaking emphasizes deep emotional collaborations, creating a safe and supportive environment for their cast and crew. This is evident in the film’s intimate scenes, where Schoenbrun fought the urge to dissociate, as they had during actual sex. The director’s ability to connect with their actors on an emotional level resulted in powerful performances, particularly from Jack Haven as Little Death.
Haven’s performance, despite having zero lines, is a linchpin bridging the real world with the camp’s horny, gory phantasmagoria. Schoenbrun praises Haven’s ability to convey emotion through physicality, describing their movements as a ballet of carnage. This fusion of careful craft and soulful performance is a testament to Schoenbrun’s directorial prowess.
The film also reunites Schoenbrun with their I Saw the TV Glow collaborator, Jack Haven. Little Death’s character, abused and ultimately drowned by his fellow campers for presenting as a girl on some days and a boy on others, adds a layer of complexity to the film’s exploration of gender and sexuality. Kris’ love for the subgenre, despite its problematic messaging, is a central theme of the film.
The film’s focus on physical interactions, sensuality, and the complex themes of identity and sexuality sets it apart from their earlier works. Schoenbrun’s ability to create deep emotional collaborations and their personal journey of self-discovery are evident in every frame of this provocative and powerful film.
