EditTeenage Sex and Death at Camp Miasma (2026)

When young, ambitious filmmaker Kris (Hannah Einbinder) gets the chance to revive the classic horror franchise Camp Miasma, it's a dream come true. To give the project some weight, she seeks out the star of the original films in the series, Billy Presley ( Gillian Anderson) , who is set to star in the remake. The meeting between the idealistic director and the more experienced, reclusive actor becomes the starting point for a story about obsession, artistic control, and the relationship between the cult films of the past and the way they are viewed today. As work on the film takes shape, the lines between remake, memory, and reality begin to shift. What at first seems like a meta-horror about recreating a slasher universe develops into a more disturbing tale of identity and desire. “Teenage Sex and Death at Camp Miasma” is directed by Jane Schoenbrun , who is particularly known for working at the intersection of coming-of-age, horror, and queer sensibilities. The film quickly attracted a lot of attention, not least because it came after the much-talked about “I Saw the TV Glow,” and because Schoenbrun is moving even more clearly into a meta-slasher tradition with a personal and artistic touch. The film has been described as a kind of queer reinterpretation of the classic camp slasher genre, but with a much greater focus on desire, identity, and psychological dissolution. The cast includes Hannah Einbinder and Gillian Anderson as the film's central duo, flanked by Patrick Fischler , Jack Haven , Eva Victor , Zach Cherry , Sarah Sherman and Jasmin Savoy Brown, among others . The casting is a big part of the film's appeal: Anderson's presence gives the project both iconic weight and a connection to the film's theme of past stars and horror mythology, while Einbinder represents a newer generation of performers with a more modern, queer and self-aware expression. The festival reception has also strengthened the film's reputation. Its world premiere at Cannes sparked a six-minute standing ovation , and the film also won the Queer Palme d' Or, placing it at the center of the conversation about the year's most significant queer and genre films. This reception has helped transform the film from a niche project into a broader art-house horror film.