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Movie Review

Funny and heartwarming Language Lessons is a balm for the soul

Alex Bentley
Sep 10, 2021 | 3:26 pm
Funny and heartwarming Language Lessons is a balm for the soul
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Many people have become all too familiar with video conferencing over the past 18 months, so using that method as the conceit for a whole film may not initially sound appealing. But when a story is told well using expert actors, as it is in Language Lessons, it can transcend the gimmick to become something memorable.

The film throws the audience into the concept right away with Adam (Mark Duplass) starting a Zoom call with Cariño (Natalie Morales), an online Spanish teacher hired for Adam by his husband, Will (Desean Terry). The lessons are a surprise for Adam, who maintains comprehension and conversational ability from his younger years, but wishes to become completely fluent.

Adam and Cariño strike up a nice bond almost immediately, but very early on the film becomes about much more than just Adam learning Spanish. Through their various lessons and a variety of video messages they send each other, the relationship between student and teacher moves quickly from being merely transactional to something much deeper. They are able to reach that point in spite — or perhaps because — of the physical distance between them, with Adam in Oakland and Cariño in Costa Rica.

Directed by Morales and written by both Morales and Duplass, the film is able to achieve big levels of emotion that wouldn’t seem possible with two actors never physically performing together. Whether it’s the ubiquity of video conferencing during the pandemic or the way it’s used in the film, the fact that the whole film is told through screens is never bothersome. Even some technical difficulties — fuzzy video, dropped audio, etc. — add to the unique feeling of the story.

The film is broken up into six chapters which are technically meant to track Adam’s progress, but the chapter titles — immersion, comprehension, context, grammar, extra credit, and fluency — take on a greater meaning because of personal events in both Adam and Cariño’s personal lives. Also, even though the production of the film was made during and influenced by the pandemic, the story never references that event, allowing it to explore different avenues without that added weight.

Duplass and Morales make for a great platonic pair, playing off each other in many fantastic ways. Neither allows the fact that they weren’t in the same room with other to interfere with their performances. In fact, their banter is arguably enhanced by the separation, with each engaging in movements and dialogue that would have changed drastically had they actually been next to each other.

Language Lessons is alternately funny, heartwarming, and heartbreaking, making it a balm for anyone tired of noisy blockbusters or the stress of the world at large. It’s not flashy in the least, and that’s what makes it work so well.

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Language Lessons is playing in select theaters.

Natalie Morales and Mark Duplass in Language Lessons.

Natalie Morales and Mark Duplass in Language Lessons
Photo courtesy of Shout! Factory
Natalie Morales and Mark Duplass in Language Lessons.
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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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