Teenage Sex and Death at Camp Miasma

A movie so rich with social commentary, it demands a second viewing and rewards you for it graciously.

 After opening at Cannes Film Festival earlier this year, Jane Schoenbrun’s latest movie, Teenage Sex and Death at Camp Miasma finally hits the big screen and takes audiences on a journey the trailer could have never prepared them for.

On the surface it presents itself as a typical 80s slasher filled with sex and violence but in reality, it uses that mould to introduce viewers to sensitive themes like sexual identity, the exploration of IP and the escapism of fantasies. Topics that might not intrigue the casual viewer and whilst it can seem quite intimidating for someone who doesn’t face these internal struggles, other aspects of the movie still lure you in like the beautiful landscapes, twisted humour and stellar performances by both Gillian Anderson and Hannah Einbinder.

What I found most fascinating, however, was how it stayed unapologetically authentic whilst being strangely accessible. It doesn’t punish you for not relating to the themes and allows the narrative to stand independently whilst giving you the option as a viewer to dive deeper if you so please.

If for whatever reason, the social commentary is still too overpowering for you, there’s still plenty to appreciate visually. My favourite of which is the hand painted backdrops. Created by the movie’s brilliant production designers, Brandon Tonner-Connolly and Matt Hyland, these stunning yet blatantly artificial landscapes add the perfect amount of simulation to the story, constantly reminding you of the Lynchian world we’re in.

Ultimately, Teenage Sex and Death at Camp Miasma will age phenomenally, not only because that’s a conscious part of the filmmaking but because each viewing provides you with new context, allowing you to unlock new ideas.

Whilst I may not have understood every message the movie threw at me, I felt all of it, and I’d argue that’s just as effective.