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Behind Frenemy Lines

Would-be enemies find common ground in war movie Zaytoun

Dallas International Film Festival
Apr 13, 2013 | 10:00 am
Dallas International Film Festival, Zaytoun play icon
Abdallah El Akal and Stephen Dorff star in Zaytoun.
Photo courtesy of Dallas international Film Festival

During the 1982 war between Israel and Lebanon, many Palestinians were forced to flee to Beirut and live as refugees, with men, women and children setting up makeshift camps far from the battlefield. In Zaytoun (playing at Angelika Film Center April 14), the war literally comes crashing down on them one day as an Israeli fighter pilot (Stephen Dorff) lands outside the camp.

A group of gun-wielding pre-teens watches guard over this new prisoner of war. Among these displaced children is Fahed (Abdallah El Akal), whose father died in an Israeli air attack and left behind only a small potted olive tree from their homeland.

Fahed dreams of one day returning home and replanting the tree, while Yoni knows he must escape the camp or face death at the hands of his captors. So the unlikely duo makes a deal to escape.

Below, Zaytoun producer Fred Ritzenberg discusses the bond that Fahed and Yoni create, resulting in an engaging story of two would-be enemies who work together in search of home.

DIFF: Though Yoni and Fahed are never truly depicted “at war” on a battlefield, the two are certainly fighting against many things. What are they fighting against?

Fred Ritzenberg: I think Yoni and Fahed are very much “at war.” The war takes place in the refugee camp and on the road to Israel. Lebanon is in the middle of a 15-year civil war. Many factions are fighting one another.

Yoni is the object of Fahed’s anger directed toward the pilot who killed his father in an air raid. He is also at war with the people who make his life so difficult.

His frustration of not being able to return to the ancestral land and being a virtual prisoner in Beirut further fuels the hatred directed toward Yoni — so much so that he shoots the prisoner in the butt. He denies Yoni water when they first meet. He steals a picture of Yoni’s wife and taunts him with his freedom.

The turn is when they stop fighting each other and fight for their survival, which forces a bond between them.

DIFF: Which is more difficult: winning a war or winning hearts and minds?

FR: Zaytoun tells the story of two people with opposing points of view learning to see the other’s perspective. Yoni and Fahed are forced together by circumstances and learn to survive by gaining the trust of one another. That is the reason that Fahed and Yoni were able to walk away from this experience changed.

They won the hearts and minds of one another, which gives us hope. Sadly, the war escalates at the end of the story.

DIFF: What do Yoni and Fahed see in each other that allows them to overcome their roles as enemies?

FR: Yoni first sees Fahed as an impulsive, temperamental and dangerous boy who will eventually become a terrorist. Fahed sees Yoni as the pilot responsible for killing his father in an air raid. He sees him as a coward and the enemy.

Yoni and Fahed share a similar experience but aren’t aware of it until the end of the story: the tragedy of losing a father during war. This parallel story binds them in ways they don’t fully understand until the end of the film. They share a similar story but with opposite sides.

Abdallah El Akal and Stephen Dorff star in Zaytoun.

Dallas International Film Festival, Zaytoun
Photo courtesy of Dallas international Film Festival
Abdallah El Akal and Stephen Dorff star in Zaytoun.
unspecified
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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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