Hannah Einbinder as Kris and Gillian Anderson as Billy pair well in “Teenage Sex and Death at Camp Miasma.” (photo courtesy of MUBI)

The brilliant mind behind “I Saw the TV Glow” returns with a sophomore release more polished and somehow more bizarre than their debut film. “Teenage Sex and Death at Camp Miasma” might seem a bit on the nose, but that title hides what this meta-slasher offers spectators who want to think further about how these films linger in our psyche for so long.

A few decades ago, the “Camp Miasma” franchise had a good run, doling out dismemberment and teenage hormones. Then, like most film series, it went dormant. Now, new filmmaker Kris Williams (Hannah Einbinder from “Hacks”) hopes to revive the franchise with a fresh perspective. But to do this, she hopes to recruit original final girl Billy Presley (Gillian Anderson), who now resides in a closed summer camp, the original shooting location of the first film.

The pair debate the slasher’s visceral appeal, and what those films mean to general and especially queer audiences. Billy hails from a generation unfamiliar with such contemporary thought and vernacular. Luckily, Kris word-vomits everything anyone needs to know on the film industry and anything they might deem problematic.

But Kris’ love of film and experiences in the modern world can’t prepare her for what she’ll uncover during her visit, thanks to the guidance of Billy. But don’t expect Kris to handle each new revelation with grace. She prefers oversharing and snark.

Unlike “I Saw the TV Glow,” writer-director Jane Schoenbrun’s third film is easily their funniest. Thank Schoenbrun’s cross-film collaborators for helping set a beautiful mood: Erin Yue’s gorgeous cinematography and Alex G’s haunting score. But amidst abstract visuals and complex emotional moments, clever jabs at horror tropes lighten the subject matter.

At times, the vibe is similar to “Hacks” – Einbinder once again portraying a chatty, overthinking creative who’s up to date on cultural sensitivities. In one hilarious scene, the pair screen the original “Camp Miasma,” Kris pointing out offensive moments to a stoic-faced Billy, who tries to silently watch.

Anderson’s Billy might channel some stoic looks perfected since the “X-Files” days, but this character is something new. If you haven’t noticed over the last couple of decades, Gill’s body of work is quite impressive, from versatile roles in “Hannibal” and “American Gods” to “Sex Education” and the Southern accent texturing the brilliant character she plays here. Rather than a typical commanding presence, Anderson favors eccentric and reclusive, though still very much in charge.

If you want a straightforward slasher film, this will absolutely not satiate that urge. This is a spiritual sequel to “I Saw the TV,” in both its concern for queer aesthetics and abstract approach. But this one is far more bloody than “Glow,” which wasn’t quite a horror film at all. “Teenage Sex and Death at Camp Miasma” doesn’t follow a traditional path, but it will deliver some gory moments.

To help with that is Jack Haven, who operates as a liberating figure in the story, similar to “Glow,” though a more bombastic role here. This time as “Camp Miasma” villain Little Death – rocking some impressive headgear – he’s a presence open to interpretation, no monologues in sight. To say more might undermine the bonkers disclosures in the third act surrounding Little Death. Just prepare.

And oh my, that third act is an experience. Leading to that point, we witness conversations, surrealist dreams and ample footage from that classic slasher. It all ties together in a truly unexpected way. You will not guess the end.

For a film theorist, this one’s a wellspring, psychoanalysis at its most aware. From naming the alleged villain Little Death to explorations of the monstrous and/or male gaze, this is something meant for public discourse. Perhaps some will find it ostracizing, pretentious even, but those reactions need not sway you. Sometimes a film needs to feel like an abstract poem: dissect, debate, interpret, miss the point, you try again, discover it by accident.

Jane Schoenbrun’s work continues to prove that experimental filmmaking is enthralling when the subject is personal and sincere. Just prepare for remarkable performances, clever satire, stunning production and an ending that might confuse you at first in the best possible way.

Jane Schoenbrun’s “Teenage Sex and Death at Camp Miasma” offers remarkable performances, clever satire and stunning production. (photo courtesy of MUBI)