• Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma will tour festivals and special venues this June and July before its August 7 theatrical release.
• The film stars Hannah Einbinder as a young director tasked with reviving a slasher franchise, alongside a reclusive Gillian Anderson.
• Critics at Cannes praised it as Schoenbrun’s funniest, boldest, and most emotionally daring film yet.
• The MUBI release will screen at NewFest, Provincetown Film Festival, Fantasia, and more on its “Camp Is in Session” tour.
• The film expands on the themes of gender dysphoria and identity that defined Schoenbrun’s previous features.

Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma is heading to summer camp early. The Cannes-praised horror-comedy — starring Hannah Einbinder and Gillian Anderson in what critics are calling a genuinely singular piece of cinema — will embark on a “Camp Is in Session” festival tour throughout June and July before its wide theatrical release on Friday, August 7.

The tour, announced exclusively by IndieWire, will hit a curated run of film festivals and special venues chosen to match the film’s summer camp spirit. Confirmed stops include NewFest, the Provincetown Film Festival, and Fantasia, with the tour kicking off June 27 at Frameline50 — the 50th San Francisco International LGBTQ+ Film Festival. It’s a fitting launchpad for a film that has already resonated deeply with queer audiences since its Cannes debut.

The premise is as irresistible as the title. Einbinder plays Kris, a critically acclaimed indie director who gets tapped by a studio to resurrect the Camp Miasma slasher franchise — the kind of schlocky, beloved horror series that shaped a generation of genre fans. To prepare, she seeks out Billie, the franchise’s original star, now a reclusive figure living off the grid. Billie is played by Gillian Anderson, and the official synopsis promises the two women fall into “a blood-soaked world of desire, fear, and delirium.”

What Critics Are Saying After Cannes

The film arrived at Cannes with serious buzz and left with even more. Reviewers have been emphatic: this is Schoenbrun operating at a new level. IGN’s Cannes review called it “electrifying, erotic, and playfully yet profoundly emotional,” and described it as Schoenbrun’s “most unabashedly unique film to date” — high praise from a filmmaker whose previous two features, We’re All Going to the World’s Fair and I Saw the TV Glow, already earned devoted cult followings.

What’s surprised critics most is how funny it is. Schoenbrun has always had a sharp, underappreciated wit, but Camp Miasma apparently leans into it harder than anything they’ve made before — opening with a rapid-fire montage of headlines chronicling a horror franchise’s rise and fall that reviewers describe as “side-splittingly great.” Einbinder, best known for Hacks, brings her comedic timing to bear while also delivering something more vulnerable underneath. The result, per IGN, is a performance where “the film’s more tender moments work just as well as the playfully teasing ones.”

IndieWire’s Ryan Lattanzio framed the film’s emotional core with precision, writing that it’s “a statement about what happens after gender dysphoria’s annihilation — a reflection on the sexual unease experienced once you’ve finally fit into your body but perhaps don’t know what to do with it.” It’s heady stuff, but reviewers are clear that Schoenbrun never lets the cerebral overtake the visceral. “For all the ways that so much of modern cinema can feel rather tame in how it engages with such questions,” IGN wrote, “Schoenbrun fearlessly kicks down the door of any boring prudishness.”

Comparisons to David Lynch and David Cronenberg’s Crash have come up in early reviews, though critics are equally insistent that this is something wholly its own — bolstered by a score from Alex G and cinematography by Eric Yue that keeps the film’s increasingly unhinged tonal shifts feeling grounded and intentional.

A MUBI Release With a Cult Already Forming

The film is being released through MUBI, the arthouse streaming and theatrical platform that has become a home for exactly this kind of daring, director-driven work. That distribution context matters: Camp Miasma isn’t trying to be a mainstream summer blockbuster. It’s positioning itself as the film for the cinephiles, the queer horror fans, the people who wore out their I Saw the TV Glow Blu-rays.

The “Camp Is in Session” tour is smart programming for that audience — meeting them at the festivals and rep screenings where they already live before the August 7 wide release brings it to everyone else.

IGN’s review put it plainly: “It’s a film that’s very much not going to be for everyone, but for those that are able to get on the same wavelength, it’s truly exhilarating.”

Consider the wavelength set.

The post Camp Miasma Gets a Summer Tour Before August Release appeared first on Cream.

• Hannah Einbinder called out Hollywood peers for refusing to label Israel’s actions in Gaza a “genocide”
• The Hacks star appeared on Zeteo’s Beyond Israelism podcast alongside activist Mahmoud Khalil
• She argued Hollywood only engages with free speech issues when they affect white people, citing the Colbert and Kimmel situations
• The episode was taped live at Riverside Church in New York on April 16 and released in full on May 12
• Einbinder heads to Cannes next as the star of Teenage Sex and Death at Camp Miasma, premiering in Un Certain Regard

Hannah Einbinder is done staying quiet about the people who are staying quiet. The Emmy-winning Hacks star went off on Hollywood’s collective silence over Israel’s military campaign in Gaza during a live taping of Zeteo’s Beyond Israelism podcast, recorded at Riverside Church in New York City on April 16 and released in full on May 12.

“It pisses me off,” Einbinder said plainly. “Because I’m sitting here with Mahmoud, who has so much to risk and who has risked so much, who has sacrificed so much — and I look at these people who have absolutely every privilege imaginable to mankind and they cannot utter a single word. I guess it makes me naive, but I cannot understand it. I really can’t understand it.”

She was seated onstage alongside Mahmoud Khalil — the Algerian-Palestinian activist and former Columbia University graduate student who was arrested by federal immigration agents in March 2025, only to have a federal judge order his release in June after ruling his detention unconstitutional. Also on stage were British-Palestinian author Isabella Hammad and podcast host Simone Zimmerman.

When it came to celebrities who claim they simply don’t know enough to speak up, Einbinder wasn’t buying it. “I hear people say that they don’t know enough and I — I don’t, it’s like, OK, so what do you do all day? Are you just literally walking around like this?” At that point, she stood up from her chair and stumbled around the Riverside Church stage with her eyes covered — making the point physically.

The White Person Problem

Einbinder’s sharpest critique wasn’t just about silence — it was about who Hollywood chooses to notice. She argued that the industry follows a clear racial hierarchy when it comes to which injustices register as real.

“People in Hollywood, unfortunately, need these issues to affect a white person for them to see it as relating to them,” she said. “Like, they see Jimmy Kimmel getting taken off the air suddenly, they see Stephen Colbert’s show being canceled by CBS — which is owned by the Ellisons — and they go, ‘How could this possibly happen?'”

“And it’s like, we know how. Because we saw students and professors and journalists and authors and Palestinian folks be silenced and fired and expelled and imprisoned. So we tried to say, ‘This is going to set the precedent for this whole thing to explode,’ and it took it happening to these white men for people to be like, ‘Oh my god.'”

She also pointed to the ICE presences that escalated under the Trump administration, and referenced the deaths of Keith Porter and Renee Good as moments that began to shift awareness. “I think that those were moments, too, where people started to wake up,” she said.

On the question of whether more celebrities might eventually speak out, Einbinder offered a grim kind of optimism: “As Israel ramps up its genocide, the reality is harder and harder to ignore for a lot of people.”

“I Don’t Want Cowardice to Be the Metric”

Einbinder also pushed back hard on the idea that her own outspokenness takes courage — not out of false modesty, but because she refuses to let silence be reframed as a reasonable baseline.

“I always resist the idea that what I am doing is in any way brave because I don’t want cowardice to be a metric by which I judge bravery,” she said. “What I am doing is having eyes and seeing reality and saying what I am seeing. And I think that so many people risk so much more in a tangible sense.”

It’s a line that lands differently when you consider what Khalil, sitting beside her, has actually been through.

Einbinder has been among the most consistent Hollywood voices on this issue for some time. At the 2025 Emmy Awards, where she won Outstanding Supporting Actress in a Comedy Series for Hacks, she ended her acceptance speech with: “Go Birds, f— ICE, and free Palestine.” She has also signed the Film Workers for Palestine pledge, committing not to work with Israeli film institutions that signatories view as complicit in genocide and apartheid.

She’s not alone among festival circuit names making noise right now. Pedro Almodóvar, whose new film Bitter Christmas debuts in competition at Cannes, recently told the Los Angeles Times that the 2026 Oscars telecast struck him as notably apolitical. “It was quite notable watching the Oscar telecast where there were not many protests against the war or against Trump,” Almodóvar said. “The only real example I can remember came from a European, a friend of mine, Javier Bardem, who did directly say, ‘Free Palestine.'” The director added: “People are obviously very frightened. The U.S. is not a democracy right now.”

Einbinder is heading to Cannes herself — as the star of Teenage Sex and Death at Camp Miasma, which premieres in the Un Certain Regard section. Whatever the red carpet looks like, don’t expect her to keep it strictly about the movie.

The post Hannah Einbinder Blasts Hollywood’s Silence on Gaza appeared first on Cream.