Jane schoenbrun's surreal new film expands her mind-bending universe

Jane Schoenbrun has made a name for herself in the film world with her wildly imaginative, gloriously weird projects. Her coming-of-age debut, We're All Going to the World's Fair, left audiences haunted, while her follow-up, I Saw the TV Glow, turned viewers' heads with its dizzying tale of two teens obsessed with a supernatural TV show.

Camp miasma: a bigger, bolder swing

Schoenbrun's latest, Teenage Sex and Death at Camp Miasma, premiered at the Cannes Film Festival, marking a major expansion of her cinematic universe. This new installment opens up her world from cramped rooms and bright screens to vast, otherworldly landscapes.

The film centers around Kris, a promising young director tasked with reviving the Camp Miasma slasher franchise. She travels to meet Billy, the iconic final girl from the original 1980s films, who still resides on the abandoned set of the first movie. As Kris pitches her vision for the new Miasma, the two women grow closer, sharing intimate secrets and reconnecting with the franchise's troubled past.

Through meticulous world-building and a keen eye for nostalgic details, Schoenbrun transports viewers into the fever dream of 80s horror, cluttered with references and Easter eggs. Fans of the genre will delight in the intricate merch, VHS tapes, and period-specific tech, while newcomers may find the dense trappings and persistent knowingness overwhelming at times.

Despite its flaws, Teenage Sex and Death at Camp Miasma is a compelling, surreal work that grapples with the pain of horror's problematic legacy and the confusing thrill of consuming these films. The final act delivers on the provocations of the title, but the journey there could be shorter and more impactful. Still, this is a thrilling, layered addition to Schoenbrun's filmography, promising even bigger, bolder things to come.