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Movie Review

New Michelle Obama documentary Becoming is no mere memoir rehash

Alex Bentley
May 6, 2020 | 9:18 am
New Michelle Obama documentary Becoming is no mere memoir rehash
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If Michelle Obama had her way, almost no one in the general public would know her name. Thrust into the national spotlight by the candidacy and eventual presidency of her husband, Barack Obama, she had to quickly make peace with her role as the First Lady, and the fact that she was now a role model whether she wanted to be or not.

Some women are up to the task, and some are not, and if the new Netflix documentary Becoming makes anything clear, it’s that Obama was — and continues to be — one of the most well-suited women to ever take on the role. The film, a companion piece to her 2018 memoir of the same name, follows her around the country during her stadium tour in 2019 in support of the book.

The film gives a Cliff’s Notes version of the book, showing Obama as she tells her life story to moderators like Oprah Winfrey, Reese Witherspoon, Tracee Ellis Ross, Stephen Colbert, and Conan O’Brien in front of packed crowds in various cities. Viewers get many of the highlights of her life, including her childhood in Chicago, her college years at Harvard, her meeting Barack, her becoming a mother, and, of course, her eight years in the White House.

But the film is also much more than a mere rehashing of the book. Director Nadia Hallgren and her crew trail Obama as she meets with fans at book signings, joins small groups of students at high schools, and chats behind the scenes with her staff, Secret Service detail, and family members. Hallgren even breaks off from Obama a few times to glimpse the lives of some of the high school girls from the small groups.

The portrait that is painted is one of a woman who is an inspiration to many because of her compassion, her willingness to engage with strangers, and her ability to move with the spoken word. There’s good reason that many in the Democratic Party feel that she would make an ideal vice-presidential candidate for presumptive 2020 nominee Joe Biden, even though running for office is anathema to her.

There are a couple of allusions to the current administration, as well as her conflicts with right wing media and Republicans during her time in the White House, but anyone looking for pointed attacks will have to look elsewhere. As she famously said in her 2016 Democratic National Convention speech, “When they go low, we go high,” although even she admits that stance is sometimes difficult to maintain in the face of what she considers to be baseless criticism.

Becoming is a welcome reminder that Michelle Obama continues to be a force for good in a world where that can sometimes feel like a resource in short supply. The film is a veneration of the former First Lady, but there are relatively few who would not consider her worthy of such praise.

Michelle Obama in Becoming.

Michelle Obama in Becoming
Photo courtesy of Netflix
Michelle Obama in Becoming.
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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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