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Film Insight

Fearless documentary Brave Miss World gives rape victims a voice

Dallas International Film Festival
Apr 10, 2013 | 9:04 am
Dallas International Film Festival, Brave Miss World play icon
Brave Miss World plays April 10 and 12 as part of the Dallas International Film Festival.
Photo courtesy of Dallas International Film Festival

In a world too often plagued by anguish and pain, true beauty can be hard to find. Linor Abargil is proof, however, that such beauty exists. And that’s not simply in reference to her looks, but also to her beautiful and infallible spirit.

With Cecilia Peck’s powerful documentary, Brave Miss World (playing at Magnolia Theatre April 10 and Angelika Film Center Dallas April 12), viewers are brought on Linor’s journey from city to city, country to country, as she helps women cope with an issue that’s unfortunately very near to her own heart: rape.

Less than two months before she was crowned Miss World in 1998, Abargil was raped while modeling in Italy. In spite of the trauma she’s experienced, her heart remains full of love, and her warm personality shines brightly throughout the film.

“We found Linor [Abargil]’s lack of shame in talking about rape to be extremely compelling,” says director Cecilia Peck.

“We both found Linor’s lack of shame in talking about rape, and her belief that telling her story could help other women to seek help, to be extremely compelling,” director Cecilia Peck says of the first time that she and producer Inbal Lessner met Abargil in 2008. “Little did we know that it would be an almost five-year odyssey and harder, but hopefully more important, than anything else we’d ever undertaken.”

One of the many challenges in creating this documentary, Peck says, was handling the everyday stresses of filmmaking while simultaneously dealing with such tough subject matter.

“When you’re on a micro budget and have a tight schedule — with travel, hiring and managing crews, technical issues, production problems, sleep deprivation, etc. — it can be hard to make sure you are also remaining very respectful of the delicate emotional lives of the people you’re working with,” Peck says.

Abargil faced challenges of her own throughout the filming process, often sacrificing her own well-being for the good of her cause. Brave Miss World doesn’t define her by one tragic event, but rather focuses on the incredible woman she has become and paves the way for other women to take back control of their own lives.

However, women are not the only ones capable of connecting to the film, as rape is an issue affecting men as well. The film fearlessly confronts a difficult subject with both an elegant grace and an extreme fierceness, giving victims not only a voice, but also hope for a better future.

Brave Miss World plays April 10 and 12 as part of the Dallas International Film Festival.

Dallas International Film Festival, Brave Miss World
Photo courtesy of Dallas International Film Festival
Brave Miss World plays April 10 and 12 as part of the Dallas International Film Festival.
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Movie Review

Teenage Sex and Death at Camp Miasma gives horror a surreal twist

Alex Bentley
Aug 14, 2026 | 1:30 pm
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma
Photo courtesy of MUBI
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

The horror genre really ramped up in the 1970s and ‘80s, bringing with it a new subgenre - the slasher - that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death - a transgender person who has an air conditioning vent as a head/mask - may not just be a character created for the movies.

Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference - Norma Desmond from Sunset Boulevard - to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

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Teenage Sex and Death at Camp Miasma is now playing in select theaters

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