Teenage Sex and Death at Camp Miasma takes pains to deliver a slasher fan’s dream
摘要
简·舍恩布伦新作《青少年性爱死于迷障营》以极致细节满足恐怖片粉丝期待，同时兼顾普通观众。影片讲述酷儿导演克里斯受命翻拍一部政治不正确夏令营恐怖片，在拜访隐居的原版“最后女孩”比利时，意外陷入自身深层心理幻想。作品兼具冲击力、情感与幽默，在自我沉溺与叙事趣味间取得平衡。
Here’s one for all the kids who were exposed to lurid slasher movies when they were way too young and it kinda messed them up… but they’re finally ready to laugh about it.
Jane Schoenbrun’s latest movie, Teenage Sex and Death at Camp Miasma, is shocking, emotional, provocative, numbing, warm, witty, and surreal. It’s a slasher nerd’s dream, with a David Fincher-esque attention to detail in the opening sequence, which was designed using insights gathered from horror convention-goers. Written to indulge superfans, the movie also makes sure to not lose the general audience. Just as the geeky navel-gazing threatens to become tedious, a joke or a wink keeps the audience laughing and focused on the fantastical story Schoenbrun actually wants to tell—which isn’t a genuine slasher at all.
The movie follows Kris (Hannah Einbinder), a queer film director tasked with creating a "woke" reboot of a politically incorrect sleepaway camp franchise in the vein of Friday the 13th. On her way to meet the reclusive final girl from the original Camp Miasma film—Billy Preston, portrayed deliciously by a junk food-obsessed Gillian Anderson—Kris fails to nail her pitch and instead gets yanked into a fantasy buried deep in her psyche while at the abandoned set where Billy now lives.
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