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Movie Review

Pretentious She Dies Tomorrow gives arthouse movies a bad name

Alex Bentley
Aug 6, 2020 | 1:45 pm
Pretentious She Dies Tomorrow gives arthouse movies a bad name
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Some horror/thriller movies grab you by the throat — metaphorically, of course — from the moment they begin, rarely letting up. Others can be a slow build to a terrifying climax. But few hide their intentions from the audience, as the whole point is to make people as scared as possible.

That is the exact opposite approach of the supposed thriller She Dies Tomorrow, which takes its sweet time getting to any kind of point. Centered on Amy (Kate Lyn Sheil), the film spends its first 15+ minutes watching her wander around her house in a kind of catatonic state. Why is she acting like this? What is she thinking? Good luck figuring that out, as there are only brief, cryptic lines of dialogue during that entire section, coupled with baffling, psychedelic imagery.

Once actual conversations start to happen when Amy’s friend Jane (Jane Adams) comes over, things don’t get any clearer. The only thing that is understandable is that Amy thinks she’s going to die tomorrow, thoughts that somehow migrate to Jane and multiple other characters as the movie goes along.

Written and directed by Amy Seimetz, the film is about as pretentious as they come. It’s doubtful most people will be willing to make it through the initial mind-numbing section, and even if they do, there’s little in the way of a reward later on. Seimetz prefers to keep things ultra-vague, as if ambiguity were a virtue in and of itself. There can certainly be a place for that in films, but it’s also advisable to give your audience something tangible on which to hold.

Some may compare the constant feelings of dread the characters are experiencing to the current state of the world, but that’s giving the film too much credit, not least because it was made well before the pandemic. Given that she named her main character Amy, Seimetz may be trying to give a window into her personality, but there are few aspects of the film that help the audience connect with Amy or any other character.

Since the film is essentially formless, the actors do as well as they can with the material. The cast, which also includes Chris Messina, Katie Aselton, Tunde Adebimpe, and cameos by Josh Lucas and Michelle Rodriguez, all appear to be completely game for anything Seimetz wants them to do, no matter how bizarre. Sheil gets by far the most screentime, but strangely her character is the least knowable of any of them.

She Dies Tomorrow is the kind of film that makes people hate arthouse movies. The title seems to promise a certain type of experience, but the film delivers something completely different. It may be art, but it sure as hell isn’t entertainment.

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She Dies Tomorrow is available on August 7 via streaming options like Apple TV, FandangoNow, and Google Play.

Kate Lyn Sheil in She Dies Tomorrow.

Kate Lyn Sheil in She Dies Tomorrow
Photo courtesy of Neon
Kate Lyn Sheil in She Dies Tomorrow.
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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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