Movie Review: Jane Schoenbrun’s ‘Teenage Sex and Death at Camp Miasma’ turns slasher tropes inward
It was an unexpected turn of events after seeing Jane Schoenbrun’s buzzy third feature “Teenage Sex and Death at Camp Miasma.” Suddenly, after nearly 30 years of not thinking about the Counting Crows, their 1996 ballad…
Upon first viewing Jane Schoenbrun’s third feature "Teenage Sex and Death at Camp Miasma," the film’s catchy 1996 Counting Crows song "A Long December" stuck in my head. This unexpected resonance led me to consider the movie in a new light despite my initial skepticism. The pastiche of problematic slasher tropes and Hollywood reboot pressures seemed to be crafted for film enthusiasts and critics, catering to niche fandoms and a love for bad movies.
However, Schoenbrun's storytelling managed to transcend this perspective, as the song found a profound place within the narrative, accompanying a pivotal and cathartic moment of carnage.
The film's protagonist, Kris, portrayed by Hannah Einbinder, is a Sundance breakout director hired to reboot a 1980s horror franchise. She aims to recruit the original final girl, Billy Presley, played by Gillian Anderson, for the project. Schoenbrun's personal connection to the film is evident in the character's queerness and the transphobic nature of the series she's tasked with revitalizing.
The killer, Little Death, a trans kid, is a tragic representation of the franchise's problematic elements, rising from the lake to terrorize unsuspecting campers. Despite these issues, Kris's connection to the franchise is undeniable, as it was formative in her life, much like the brand candy she often buys at gas stations.
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