The age of horror movies is populated with franchises. Most of them feature an iconic and memorable killer who, no matter how many times he’s dispatched in previous installments, comes back to terrorize people in film after film. And most of those films feature young people in peril. We’ve seen many of these franchises start, wane, and start back again. 

In her latest feature, Teenage Sex and Death at Camp Miasma, writer/director Jane Schoenbrun explores that idea. It’s part of the meta narrative in a new horror feature that has a lot of layers. The film debuted at festivals earlier in the year, then had a limited release on August 7, expanding to more theaters throughout the month. It’s certain to be one of the most talked about new films to end summer. 

The film focuses on Kris (Hannah Einbinder), a young filmmaker who has been handed the keys to her favorite horror franchise—Camp Miasma. Her idea is a modern re-boot that offers an origin story. In order to find a creative center, she’s reached out to the original star, Billy (Gillian Anderson), with a slick new concept. She heads to the frozen country, to the campground where the original was shot, to get in touch with Billy. 

Turns out the film, and the franchise has become somewhat all-consuming for Billy, who purchased the old campground and calls it home. There, she lives somewhat isolated from the world, with her old reels of the films to connect to her past. She watches the young version of herself (Amanda Fix) on screen, battling the iconic killer Little Death (Jack Haven). She seems keen on Kris’s concept for a re-boot and invites her to stay at the camp so they can bond. 

But as they watch the old films, the lines between reality and fiction begin to blur as it’s unclear how much the lines of fiction and reality have been blurred for Billy and the world she’s built for herself. 

Schoenbrun is a unique filmmaker. Her previous efforts—We’re All Going to the World’s Fair and I Saw the TV Glow—earned fans. This is probably her most ambitious, and in some ways the most accessible. It features an interesting take on the genre as well as a focus on two women who are lost and find something in each other in a very dark and violent place. 

The visuals in the film work well. There are some stunning shots and sequences that draw you in. And the violent sequences are well crafted and grab your attention. That’s particularly true of the Third Act sequence that sort of caps the whole narrative of Little Death. 

The film is buoyed by two great performances. Anderson settles into the odd role of an aging Billy well, creating a creepy and engaging vibe and atmosphere. While Einbinder does a nice job of bringing Kris to life. She gives her all in the role and has some showcase sequences. 

That being said, I haven’t always connected well to Schoenbrun’s films. They exist on a different kind of story plane, and while I’ve appreciated the craft, it hasn’t clicked. This film is no different. I appreciate the craft, performances, and swing, but it’s not my cup of tea. It will likely have some specific appeal—especially to horror fans—but it’s not likely to be for everyone. 

Teenage Sex and Death at Camp Miasma is now playing in limited release. 

Matthew Fox is a graduate of the Radio, Television and Film program at Biola University, and a giant nerd. He spends his free time watching movies, TV, and obsessing about football. He is a member of the FSWA. You can find him @knighthawk7734 on Twitter and as co-host of the Fantasy Football Roundtable Podcast.