Teenage Sex and Death at Camp Miasma, a queer slasher film directed by Jane Schoenbrun, opened the "Certain Regard" section at the Cannes Film Festival and won the prestigious Queer Palm award. The film has been praised for its bold portrayal of sapphic relationships, with critics noting that its depiction of queer intimacy is as intense and compelling as its graphic horror elements. It has also been successful with audiences, surpassing the popular film Obsession to become the highest-rated movie of 2026 on Rotten Tomatoes. Set in a remote, desolate location—often snowy and isolated—Camp Miasma uses fog, eerie lights, and an old, mysterious legend told around a fire to create an unsettling atmosphere. The story follows a young protagonist who is both unsettled and yearning for freedom, determined to solve a local mystery and survive the lurking monster that haunts the area. The film centers on Kris (Hannah Einbinder), a young filmmaker who has been assigned to reboot the fictional horror franchise Camp Miasma. Her mission is to convince Billy (Gillian Anderson), the original heroine from the first film, to return for a new installment. Billy, who now lives in the abandoned summer camp where the original movie was filmed, spends her time obsessively crafting air conditioner grilles—symbolic of the monstrous antagonist from the first film. The original Camp Miasma depicted a summer camp where children were brutally attacked by a bloodthirsty entity with an air conditioner grille instead of a head. The new film explores the emotional and psychological layers of this fictional universe, as well as the complex relationship between Kris and Billy. Kris’s role in the film is to explore the intersection of queer identity and the cultural portrayal of monstrosity, aiming to restore the studio’s reputation by creating a queer installment of the saga. However, the film also confronts the transphobic undertones of the original Camp Miasma series. The antagonist, nicknamed "Little Death" (played by Jack Haven), was a bigender child who was bullied and murdered, embodying the struggle of gender identity. The film is described as very meta, with Jane Schoenbrun once again focusing on the protagonist’s confrontation with "Little Death," who serves as both the killer and a symbol of internal and external conflict. The film plays with the idea of reality, as noted by The Observer, using painted sets and artificial effects—such as blood that resembles raspberry sauce—to emphasize the constructed nature of the horror genre. Despite its critical success, the film has yet to find a distributor in France. However, it will be screened on September 15 at the Max Linder cinema in Paris, and on September 17 in several other theaters across the capital. The film’s bold approach to genre conventions and its celebration of queer identity have sparked discussions about the role of guilty pleasures in cinema, suggesting that sometimes the most enjoyable films are those that challenge expectations and push boundaries.