Cannes: With "Teenage Sex and Death at Camp Miasma" Jane Schoenbrun doubles down on becoming a defining generational voice.

by Elisa Giudici

TEENAGE SEX AND DEATH AT CAMP MIASMA. MUBI

By the time Teenage Sex and Death at Camp Miasma premiered at Cannes, Jane Schoenbrun had already become something close to a generational folk hero for younger cinephiles. You could feel it inside the Debussy theater before the lights even went down: critics squeezed onto theater steps, festival attendees treating an Un Certain Regard opener like the hottest ticket on the Croisette, audiences buzzing less about Cannes prestige than about what the filmmaker behind I Saw the TV Glow might do next. And honestly, the excitement makes sense. Few filmmakers right now understand how media obsession functions emotionally for millennials and Gen Z quite like Schoenbrun does. Their work isn’t simply nostalgic. It treats pop culture, horror movies, forgotten VHS relics, fandom rituals, and half-ironic internet cinephilia as part of the architecture of identity itself...

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Gotham Awards: Brigette-Lundy Paine in "I Saw the TV Glow"

by Nick Taylor

In an act of controversial cinema adoration, the awards-giving body that’s spent most of its thirty years structured around gender-neutral acting categories has recognized a gender-neutral performer. Brigette Lundy-Paine is nominated by the Gotham Awards for Outstanding Supporting Performance for their turn in Jane Schoenbrun’s I Saw the TV Glow. Lundy-Paine’s Maddy is the only friend of Justice Smith’s Owen, and his guide into the world of The Pink Opaque. It’s a strange, commanding performance, an all-too-real portrait of queer dysphoria and camaraderie tested by alternate realities, shitty dads, and an evil moon. I am unbelievably thankful for this film and for Lundy-Paine's embodiment of this character, so now seems like the best time to celebrate their work. Follow me under the cut if you want to know the truth . . . .

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