Teenage Sex and Death at Camp Miasma      Director: Jane SchoenbrunCert: NoneStarring: Hannah Einbinder, Gillian Anderson, Amanda Fix, Jack Haven, Dylan Baker, Eva Victor, Sarah ShermanRunning Time: 1 hr 52 minsI can’t remember any previous audience at Cannes cheering the mere title of a film to the rooftops, but such is the response when, at the opening of the Un Certain Regard section, the words “Teenage Sex and Death at Camp Miasma” blurt across the screen.You have to admire the confidence of Jane Schoenbrun’s fans. It was going to be some challenge to follow up the meta-oddness of We’re All Going to the World’s Fair and I Saw the TV Glow. Surely they couldn’t pull that off again.Against the odds, the new film turns out to be a near unqualified triumph. Once again the brainy film-maker uses their love of vintage horror to process personal and public anxieties. Maybe the film lacks the poignancy of I Saw the TV Glow – the sense of loss – but it compensates with a new carnival energy. Teenage Sex and Death at Camp Miasma is certainly one for the chin-stroking academics, but it’s also a fun time at the movies.The Sunset Boulevard of slasher films? The characters come close to using those very words. Hannah Einbinder plays Kris, a character with unmistakable echoes of Schoenbrun herself: a queer feminist director tasked with reviving Camp Miasma, a slasher sequence that began in the 1980s before being bled dry through subsequent decades. As part of her early research she arranges an interview with the reclusive 60-year-old star of the original movie. Gillian Anderson has fabulous fun in the role. Yes, she is partly Norma Desmond, from Sunset Boulevard – actually living on the Camp Miasma location – but, with that southern drawl, she is also an escapee from Tennessee Williams’s nightmares.No synopsis could do justice to what follows. If Schoenbrun will forgive me, the film begins with a few gags that might breathe air in the Scream universe. “They want ‘elevated’ – aka ‘woke’,” Kris’s agent says of the financiers. As reality burns away, however, and the Miasma horrors invade everyday space, the film gives in to a decadent reverie that is all Schoenbrun’s own. This picture is, in part, an attempt to assuage guilt at enjoying the teen-camp slasher at its most misogynistic and transphobic. It is also, as the director would admit, an amusing send-up of where they now find themselves.At the close, the Cannes crowd groups around cast and director as the saved might once have huddled around their saviour. Something else, baby.