After years of slapdash sequels and waning fandom, the Camp Miasma slasher franchise is handed over to an enthusiastic young director (Hannah Einbinder, Hacks) for resurrection. But when she visits the original movie’s star (Gillian Anderson), a now-reclusive actress shrouded in mystery, the two women fall into a blood-soaked world of desire, fear and delirium. Directed by Jane Schoenbrun (I SAW THE TV GLOW), straight from the 2026 Cannes Film Festival.
“A steamy stew of sex, death, VHS and junk food, as though workshopped by Eros, Thanatos, Colonel Sanders and the Jolly Rancher in the seediest recesses of a Blockbuster Video, Schoenbrun’s delirious third film is their most accomplished, most persuasive and most playful movie yet.” —Jessica Kiang, Variety “A meta horror-comedy and a whip-smart entertainment industry satire. Still, on a deeper level, in a hole at the bottom of its lake, is a hard-won sexual awakening…. You’re invited to wonder if the relationship we have with our own personal canons can help to unlock pleasure in our bodies. In other words: there are climaxes other than narrative ones to be liberated and this gift of a film wants that for us.” —Sophie Monks Kaufman, Time Out “There’s a tenuous, treacherous line separating the literal from the pastiche, and few filmmakers can walk it better than those with the riotous confidence of someone who knows that truth is often better exposed through the glaring instead of the concealed. This rare gift guides the work of American director Jane Schoenbrun, whose newest feature…blasts its message with cards as open as the ripped guts of its characters.” —Rafa Sales Ross, The Playlist “TEENAGE SEX AND DEATH AT CAMP MIASMA is a title so good you feel the film to which it’s attached should really have to earn it: happily it does so within three minutes.” —Robbie Collins, Telegraph
A showtime with this icon means that screening will have open captions — a text display of the words, sounds, and speakers’ names in the movie, visible on the screen for everyone to see.
