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Movie Review

Borat Subsequent Moviefilm reflects 2020 as well as any news coverage

Alex Bentley
Oct 23, 2020 | 10:50 am
Borat Subsequent Moviefilm reflects 2020 as well as any news coverage
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When the original Borat film came out in 2006, the United States that the fictional reporter from Kazakhstan encountered was much different than the one that exists today. At that time, just five years removed from 9/11, a satirical skewering of American customs and beliefs still had the capacity to shock despite the rise of jingoism.

Now, on the eve of a hugely consequential election, comes Borat Subsequent Moviefilm, a movie that may go down in history as one of the most accurate reflections of the United States in 2020. Borat (Sacha Baron Cohen) once again travels to America, this time not to report on “the greatest country in the world” but to deliver a present to Vice President Mike Pence.

And thus sets in motion another wild trip into the outrageous and outrageously brave comedy mind of Cohen. When the original gift, a monkey, meets an unsavory end at the hands of Borat’s daughter (Maria Bakalova), Borat pivots to offer her up instead. The two travel all over the country, including a stop at the 2019 State Fair of Texas, to properly prepare her for her big moment.

The film is guaranteed to offend, whether you know what’s coming or not, as Borat holds contemptible views on everything from women to Jewish people. Of course, the point in having the character spout his bigotry is to expose the casual way in which those opinions are accepted, such as when a bakery owner has no issue with putting “Jews will not replace us” as a message on a cake.

Viewers may find themselves watching the film through their fingers at the multiple awkward situations. Targets include a Christian anti-abortion doctor, a debutante ball, and, naturally, Trump supporters. The biggest moment in the film comes when they somehow get Rudy Giuliani to sit down for an interview, leading to a scene that will unfortunately be seared on the brains of all viewers for weeks to come.

Scenes are edited in such a way to maximize the cluelessness or bigotry of the unwitting participants, so it’s never clear if they’re in on the joke or not. The presence of a cameraperson would seem to be a big clue that something is amiss, but many times people seem to forget they’re being recorded.

And then there’s the 2020 of it all. Somehow, Cohen didn’t let a pandemic stop him from forging ahead in his mission, and it pays off in an extended stay with two Trump supporters in the state of Washington. The men perfectly epitomize the degree to which conspiracy theories have infected right-wing politics, and a rally they attend with Borat — without a mask in sight — is as good a time capsule of this year as any news coverage.

Borat Subsequent Moviefilm (subtitled Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan) may not have the bite of the original, but that’s merely because the times we live in are almost impossible to satirize. But Cohen still knows how to wring comedy out of almost any situation, making for another hilariously cringeworthy experience.

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Borat Subsequent Moviefilm is streaming exclusively on Amazon Prime Video.

Sacha Baron Cohen in Borat Subsequent Moviefilm.

Sacha Baron Cohen in Borat Subsequent Moviefilm
Photo courtesy of Amazon Studios
Sacha Baron Cohen in Borat Subsequent Moviefilm.
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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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