Gillian Anderson Talks Queer Slasher Film Teenage Sex and Death at Camp Miasma
Gillian Anderson, who rose to fame as FBI Special Agent Dana Scully in “The X-Files” in 1993, stars in the queer slasher film “Teenage Sex and Death at Camp Miasma,” a project directed by Jane Schoenbrun that premiered at the 2026 Cannes Film Festival in May and received the Queer Palm award.
The Production and Creative Framework Behind Camp Miasma
Written and directed by Jane Schoenbrun, the film follows filmmaker Kris Williams, played by “Hacks” star Hannah Einbinder. Kris is hired to resurrect the “Camp Miasma” slasher franchise after years of lackluster sequels and dwindling fandom. When Kris visits the original film’s star, Billy Presley, played by Anderson, she encounters a reclusive actress shrouded in mystery. The two women become entangled in a blood-soaked world of desire, fear, and delirium.
Schoenbrun, who grew up as a horror fan, describes the film as their most personal work to date, exploring themes of sexual trauma and dissociation.
Audience Reception and Cultural Impact
The 58-year-old British American actress, who gained a new generation of fans as sex therapist Dr. Jean Milburn in Netflix’s “Sex Education” and won an Emmy and a Golden Globe for her portrayal of Margaret Thatcher in “The Crown,” notes that her latest project has attracted more attention than anything she has done before. Anderson remarked, “I’ve been around for a little while, and one can only wish for this kind of response to a film. It’s kind of crazy that a queer slasher film is getting more attention than pretty much anything else I’ve ever done.”
Anderson adds that the audience response has been uniquely participatory:
“It’s fun, though. People are having such a strong reaction to it, but it’s bringing them a lot of joy. They feel like they’re part of the reveal and the story in a way. They’re taking real ownership of it, which is really delightful to watch.”
The Intersection of Horror, Joy, and Queer Themes
Discussing the thematic underpinnings of the film, Anderson points to the technical nature of filmmaking juxtaposed against a celebration of post-transition joy. Drawing from Schoenbrun’s personal experiences, the project infuses the traditional horror format with a distinct sense of liberation and pleasure. Anderson explains:
“Even with all the snacks, popcorn and gummies, it’s all part of an expansive experience of not just the horror genre, but of the film’s meta experience of it. You’re properly leaning into and jumping into the middle of that kind of gorging. You’re surrounded by all the wrappers, and the experience of a horror film in and of itself is something that is both dangerous and titillating, full of excitement and joy.”
Co-star Hannah Einbinder, 31, who won an Emmy for her role as struggling comedy writer Ava Daniels in “Hacks,” echoes this sentiment regarding the early theatrical screenings. Having traveled to London, Montreal, Portland, San Francisco, and New York, Einbinder notes that the crowds consist of individuals deeply passionate about the director, the genre, and the cast.