“Teenage Sex & Death at Camp Miasma” Stirs Blood, Queer Narrative, and Political Debate at Cannes

The horror-comedy “Teenage Sex & Death at Camp Miasma” opened the Cannes Un Certain Regard sidebar. The finale features an extended scene in which a large volume of blood is poured onto the set, prompting actress Gillian Anderson to experience a panic attack during her first cinema viewing. Anderson described the moment as “that blood day… was pretty serious… just remembering the amount of liquid and how to not drown while shooting the scene… it was a lot!”

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Director Jane Schoenbrun frames the film as a psychosexual exploration of horror, fandom, identity, pleasure, trauma, and awakening. The plot follows Kris (Hannah Einbinder), a queer filmmaker tasked with reviving the 1980s slasher franchise “Camp Miasma,” whose original entries contain transphobic elements. Kris aims to “paper over the ugliness” while injecting her own vision, including a sexually charged sequence involving fried chicken and dipping sauce.

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• Gillian Anderson – returns as Billy, the original “final girl” now living as a recluse on the camp’s lakeside.

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• Hannah Einbinder – portrays director Kris; also known for the series “Hacks.”

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• Jane Schoenbrun – writer-director, citing the film as her first feature inspired by post-transition experience.

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• Mubi – production company and distributor; financed in part by Sequoia Capital, a firm with reported ties to the Israeli military.

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• Principal photography concluded in Canada during spring 2025.

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• The film’s release coincided with Cannes 2026, where it was highlighted for its trans-sapphic focus on marginalized communities.

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Einbinder and Anderson note that the film serves as “the ultimate escape fodder” for diverse fandoms and offers a narrative for viewers who feel “disassociated” from mainstream societal norms. The story’s queer lens and explicit treatment of desire aim to challenge shame and promote therapeutic reflection, according to Einbinder.

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Anderson emphasized the intensity of the blood-laden sequence and praised Einbinder’s commitment to portraying terror authentically. Einbinder described the material as a personal challenge that facilitated liberation from shame and affirmed her ongoing advocacy for Palestinian rights. Both actors framed the project as a collaborative artistic effort rather than a commercial venture, highlighting their dedication to storytelling that centers marginalized voices.

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Following the film’s wrap, Mubi faced scrutiny for accepting capital from Sequoia Capital, whose connections to the Israeli military have been contested. Einbinder labeled the situation as evidence of “a lot of dark money in Hollywood” and reiterated her pledge, made with other industry figures, to avoid work with Israeli film institutions implicated in alleged genocide and apartheid.

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• “That blood day,” as she calls it, “was pretty serious… just remembering the amount of liquid and how to not drown while shooting the scene… it was a lot!” — Gillian Anderson, Actress

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• “We shot a lot of very intense stuff and I had to really put myself in the fear and approach it incredibly seriously,” — Hannah Einbinder, Actress

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• “Go birds, fuck ICE and free Palestine,” — Hannah Einbinder, Actress and activist

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• “I unfortunately think there’s a lot of dark money in Hollywood,” — Hannah Einbinder, Actress and activist

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• “We, as artists, as individuals, don’t make those decisions. But what I can tell you is that I can and have and will continue to speak and advocate for a free Palestine. And Mubi knows that about me and they’ve been supportive of all us.” — Hannah Einbinder, Actress and activist

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Anderson declined to comment on rumors linking her to Ryan Coogler’s upcoming “X-Files” reboot. Einbinder indicated anticipation of future projects, noting she “just feels like the other shoe may drop.” Both actors remain focused on forthcoming collaborations within the independent film circuit.

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