Cannes Film Festival Day 3: Jane Schoenbrun’s ‘Teenage Sex and Death at Camp Miasma’ Premieres with 9-Minute Standing Ovation

Cannes Film Festival Day 3: A Night of Cinematic Triumphs and Industry Debates

The Cannes Film Festival entered its third day with a packed schedule of premieres and discussions, including the much-anticipated debut of Jane Schoenbrun’s follow-up to their critically acclaimed film I Saw the TV Glow.

‘Teenage Sex and Death at Camp Miasma’ Steals the Show

The evening’s standout event was the premiere of ‘Teenage Sex and Death at Camp Miasma’, a film Schoenbrun wrote and directed for A24. The feature, set for a summer 2026 release by Mubi, is a love letter to 1980s slasher movies and an introspective exploration of the trans experience.

The cast includes:

• Hannah Einbinder
• Gillian Anderson
• Eva Victor
• Zach Cherry
• Sarah Sherman
• Jasmin Savoy Brown
• Jack Haven

The plot follows a filmmaker (Einbinder) hired to direct a remake of the long-running series Camp Miasma, with the goal of securing a reclusive star—played by Anderson, who portrayed the “final girl” in the original film.

“It’s hard to totally accept, let alone fully digest, a new gospel when you first encounter it, but the gift of work like Schoenbrun’s is that, above all else, it is characterized by a charitable spirit of invitation. Settle into their assured and madcap wavelength and watch the scales fall from your eyes.”

The film’s premiere in the Un Certain Regard section drew a rapturous response, with reports of a nine-minute standing ovation. Einbinder reportedly attempted to thank the cast and crew over a three-minute period during the ovation. Schoenbrun and Anderson were also in attendance and introduced the film earlier in the evening.

Industry Debates: Standing Ovations and AI in Filmmaking

While the film’s reception was overwhelmingly positive, Steve Pond of TheWrap sparked a conversation about the growing trend of extended standing ovations at Cannes. In a candid critique, Pond argued that the compulsion to stand and applaud for nearly every premiere has altered the festival’s dynamic.

“Once upon a time, the essential tools for a reporter or critic covering a premiere at the Cannes Film Festival were a notebook and a pen. These days, though, there’s a necessary but regrettable addition to the list: the stopwatch app on an iPhone.”

Pond lamented that standing ovations have become so prolonged that a four-minute ovation is now seen as a sign of weakness. He wrote:

“It’s gotten to the point where a four-minute standing ovation is a sign of weakness; if members of the audience aren’t

Meanwhile, discussions about artificial intelligence’s impact on the film industry continued to dominate conversations at Cannes. Industry leaders and filmmakers weighed in on how AI is reshaping storytelling, production, and the craft of cinema.

What’s Next at Cannes Film Festival

As the festival progresses, all eyes will remain on the evolving debates surrounding AI in filmmaking and the lasting impact of Schoenbrun’s groundbreaking premiere. Stay tuned for more updates from Cannes.