TEENAGE SEX AND DEATH AT CAMP MIASMA

This will be best enjoyed by horror fanatics, even more so by queer horror fanatics. The slasher references are rife, with the gore at a level so far beyond ludicrous. It begins as a film within a film, but then becomes even more concentric as the story continues; we learn that Billy has bought the location from the first 'Camp Miasma' movie and has been hiding out there, then we learn the real reason why. In fact, Billy's obsession - perhaps even worship - of Little Death, the killer from the film series, is present in almost every element of her residence. It's all part of the creative process as Kris and Billy begin working together and share their personal sides, with a connection quickly forming.

While the film does explore some of horror's more clichéd tropes, it does also highlight some of the more problematic aspects of the genre (particularly in its earlier era), in regard to sexuality and handling of LGBTQIA+ characters. It also addresses problems that persist in studio management across the industry, despite the #MeToo movement. In all of these instances, the film prefers to use humour to handle the situation rather than get too heavy, maintaining a manageable palette for a reasonably wide audience. That's best explored when Billy and Kris sit down to watch the original film, and we get to see much of it for ourselves.

Without doubt, the work of Gillian Anderson and Hannah Einbinder lends itself to and amplifies the aims of the story. They both (but Anderson particularly, with aplomb) lean into the camp aspect of the production, while never letting it come at the expense of character or craft. It's fascinating to watch the two dance around each other as events unfold, uncertain and curious, then gently revealing truth and desire, before culminating in a finale that's both glorious and ridiculous.

While the concept is great in practice, it's in the execution that the connection fails to completely engage. The story feels dragged out over the film's 106-minute run time, with elements either unnecessarily elongated or doubled up. The messaging in this film is also much more blatant; as mentioned, it's used as subjugating humour, but it feels as though the film lacks some of the gentler, more prolific subtlety. The campier elements are hit-and-miss, particularly the comedy that comes with the older 'Miasma' movies; in all honesty, one of the most off-beat humorous parts of the film is Gillian Anderson sensually caressing fried chicken.

While it's happy to take a jab at the slasher genre, 'Teenage Sex and Death at Camp Miasma' actually succeeds best at crafting a strong connection between its two main leads. You're in expert hands with Gillian Anderson and Hannah Einbinder, who guide us through the changing chemistry. But don't you ever forget about who lives at the bottom of the lake at Camp Miasma.