Young indie film-maker Kris tracks down Andersonâs Final Girl for a remake of a beloved horror, to find fantasy and reality collapsed Jane Schoenbrun unveils a very enjoyable display of transformative ecstasy and submissive rapture, treating us to a bizarre pop-cultural black mass of fiercely believed-in trash and kink. As before with Schoenbrunâs films, I found myself thinking of Gore Vidalâs (unfashionable) novels Myra Breckinridge and Myron. This is a film that somehow persuades you that the 80s slasher genre is an exalting and liberatingly progressive experience. As before, in their Weâre All Going to the Worldâs Fair (2021) and I Saw the TV Glow (2024), Schoenbrun pulls off the trick of inventing an imaginary media phenomenon and treating it with complete fan-seriousness â an online horror game and cult scary TV show in the first two films and now a slasher movie franchise called Camp Miasma about a teen transgender killer called Little Death wearing a ceiling vent as a mask (why is never explained) who periodically emerges from a lake in a sleepaway camp where scantily clad young people will be brutally speared. The opening credits wittily walk us through the fran
May 14, 2026 → May 14, 2026
Young indie film-maker Kris tracks down Andersonâs Final Girl for a remake of a beloved horror, to find fantasy and reality collapsed Jane Schoenbrun unveils a very enjoyable display of transformative ecstasy and submissive rapture,…
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Young indie film-maker Kris tracks down Andersonâs Final Girl for a remake of a beloved horror, to find fantasy and reality collapsed Jane Schoenbrun unveils a very enjoyable display of transformative ecstasy and…
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Young indie film-maker Kris tracks down Andersonâs Final Girl for a remake of a beloved horror, to find fantasy and reality collapsed Jane Schoenbrun unveils a very enjoyable display of transformative ecstasy and submissive rapture,…
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