Jane Schoenbrun's 'Camp Miasma' Reviewed: A Queer, Meme-Ready Slasher Manifesto

In a review for ArtReview, critic Philippa Snow examines Jane Schoenbrun's latest film, 'Teenage Sex and Death at Camp Miasma' (2026), describing it as a visually dazzling and intensely intimate erotic manifesto. The film follows Kris (Hannah Einbinder), a she/they arthouse director rebooting an old slasher franchise, who recruits the reclusive final girl Billy Presley (Gillian Anderson) from the original. Their love affair explores generational divides on art, sex, and violence. Snow notes the film's metatextual, meme-ready quality, referencing its self-aware plot and the killer named 'Little Death' (Jack Haven). She draws parallels to Slavoj Žižek's 'The Pervert's Guide to Cinema' and Schoenbrun's previous work, 'I Saw the TV Glow' (2024). The review highlights the film's central conceit: desire should remain unpoliced, as illustrated by Kris's fantasies and Billy's confession of a rape-adjacent first orgasm. Schoenbrun has stated the film is about learning to have pleasurable sex after transition. Snow concludes by quoting Paul Schrader's analogy of critics as medical examiners, suggesting the film's personal nature demands it be allowed to live without dissection.