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Movie Review

Semi-autobiographical Suncoast explores end-of-life decisions with grace

Alex Bentley
Feb 9, 2024 | 2:25 pm

Topical movies tend to come down hard on the side of a particular issue that a filmmaker wants to shine a light on, with little to no ambiguity as to their true feelings. The new Hulu film Suncoast is a different beast, as it approaches a controversy from the recent past in a very personal way that’s only tangential to the larger issue.

Doris (Nico Parker) is a teenager who helps take care of her disabled brother, Max (Cree Kawa), who has brain cancer, leaving him unable to see, walk, or talk. As he approaches the end of his life, their mom Kristine (Laura Linney) decides to put him in a care facility called Suncoast near their home in Clearwater, Florida, one which just so happens to also being caring for a woman named Terri Schiavo.

Schiavo is a woman who came to be known in the early 2000s because her persistent vegetative state caused a dispute between her husband and her parents, with protesters joining both sides. The film has one of the protesters, Paul (Woody Harrelson) befriend Doris during several meetings outside of Suncoast. At the same time, Doris uses her mom’s fixation on Max’s needs over her own to open up their house to her high school classmates, broadening her friend group in the process.

Written and directed by first-time feature filmmaker Laura Chinn, the film has a lived-in feeling that’s confirmed by a dedication to Chinn’s brother Max at the end. Telling the semi-autobiographical tale of her own family’s experiences allows Chinn to broach the topic of end-of-life decisions in a relatively light way, acknowledging the emotions of the issue while still giving time for more fun scenes.

To this end, scenes about high schoolers acting immature and/or irresponsibly surround heavier scenes, such as one where Doris and Paul debate whether or not letting Schiavo die is “murder.” Complicating matters is the knowledge that Max will die sooner rather than later, and whether it’s fair to Doris for her to give up any semblance of a social life to “be there for her brother.”

While the film has a very dramatic issue at its core, Chinn does a great balancing act of acknowledging the controversy but never letting it overwhelm the more intimate story she’s trying to tell. The pain Doris is feeling on multiple fronts is evident from the beginning of the film, and Chinn manages to craft a coming-of-age story that feels familiar and different at the same time.

Helped by a mass of curly hair and an innocent face, Parker turns in a great performance that, coupled with a memorable appearance in the 2023 HBO series The Last of Us, should bode well for her acting future. Linney and Harrelson are, per usual, fantastic in their supporting roles, elevating every scene they’re in. The actors playing Doris’ classmates are hit-and-miss, but Daniella Taylor and Amarr show some promise.

Suncoast is a family drama that talks a lot about death without ever coming across as morbid or depressing. Chinn, who’s spent most of her career writing comedic material, makes an auspicious film debut, making a film that resonates on multiple levels without being cloying or preachy.

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Suncoast is now streaming on Hulu.

Laura Linney and Nico Parker in Suncoast

Photo by Eric Zachanowich / courtesy of Searchlight Pictures

Laura Linney and Nico Parker in Suncoast.

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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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