Jane Schoenbrun

Jane Schoenbrun is an American filmmaker whose work tunnels through the static of coming-of-age stories to find something stranger and more honest. They are the writer-director behind We're All Going to the World's Fair (2021) and I Saw the TV Glow (2024), two films that turned heads in indie cinema and earned praise from heavyweights like Martin Scorsese and Emma Stone.

Schoenbrun, who uses they/them pronouns, makes movies that blur the line between the digital and the real, often through a queer lens. Their latest, Teenage Sex and Death at Camp Miasma, hit theaters in August 2026, starring Gillian Anderson and Hannah Einbinder. With each release, they've built a reputation as one of the most distinctive voices in contemporary horror-tinged drama. [edit]

Jane Flannery Schoenbrun was born on February 5, 1987, in New York City and grew up in Ardsley, a suburb in Westchester County. As a kid, they were drawn to the glow of screens, late-night cable, VHS tapes, and early internet forums, long before those obsessions became their artistic signature.

After college, Schoenbrun spent years as a producer, working on The Chris Gethard Show and other projects. They also wrote columns for Filmmaker Magazine, covering Sundance and profiling directors like Dee Rees. That behind-the-scenes work taught them the mechanics of storytelling, but they wanted to make their own marks.

Their directorial debut came in 2018 with a short film, but the real turning point was We're All Going to the World's Fair. The script, written during a period of intense personal exploration, captured the eerie loneliness of online adolescence. It premiered at Sundance in 2021 and immediately announced Schoenbrun as a filmmaker to watch. [edit]

Schoenbrun's breakthrough arrived with We're All Going to the World's Fair in 2021. The film, which follows a teenager's descent into an online horror game, won over critics and festival audiences with its unsettling, intimate portrayal of internet culture. It was the kind of debut that gets a filmmaker noticed, and it did.

Their sophomore feature, I Saw the TV Glow, premiered in 2024 to even louder acclaim. The story of a young woman who becomes obsessed with a mysterious TV show struck a nerve, and the film drew public admiration from Martin Scorsese, Paul Schrader, and Emma Stone. It cemented Schoenbrun's place as a leading queer filmmaker.

In 2026, Schoenbrun released Teenage Sex and Death at Camp Miasma, a queer slasher psychodrama starring Gillian Anderson and Hannah Einbinder. Notably, A24, the studio behind their first two films, passed on this one, a decision Schoenbrun openly criticized. The film, described as a meta-slasher that turns the genre inside out, hit theaters on August 7, 2026, and sparked a wave of promotional merch, including retro VHS sleeves and trading cards. [edit]

Schoenbrun has carved out a singular space in indie film: their work is often described as "hybrid horror-drama," blending genre thrills with deeply personal stories about identity and alienation. Critics and fans praise their ability to make the surreal feel intimate, and their films have become touchstones for queer audiences who see their own experiences reflected in the static and the shadows.

Their public persona is that of a thoughtful, slightly mischievous artist. On social media, they mix film commentary with dry humor, and they're not afraid to call out industry power structures. That candor, paired with their visual inventiveness, has made them a beloved figure in the film community, even as they challenge the very systems that produce movies. [edit]

Jane Schoenbrun has cultivated a deeply devoted, niche following that thrives on the intersection of queer identity and digital anxiety. Unlike mass-market pop stars with organized campaigns or stadium-filling rituals, this audience is defined by its critical engagement with Schoenbrun's specific aesthetic: late-night television nostalgia, internet horror, and the raw vulnerability of trans experience. Fans treat films like We're All Going to the World's Fair as cultural touchstones, dissecting every frame for hidden meanings about online loneliness rather than chasing celebrity gossip or attending fan meetups. The mythology surrounding Schoenbrun is entirely cinematic, rooted in their evolution from low-budget indie darling to a leading voice in queer horror with Teenage Sex and Death at Camp Miasma. There are no formal fandom names, organized charity drives, or viral personal legends attached to the director; instead, the community bonds over shared appreciation for work that blurs the line between the real and the static. While iFANN has evaluated Schoenbrun's global impact, they do not currently hold a placement in the published rankings (Global Top 1,000 or a Top-100 scope list). This absence of a numeric rank reflects a career built on artistic integrity and cult status rather than mass-market consumption metrics.[edit]

Jane Schoenbrun's X handle, @sapphicspielbrg, playfully twists Steven Spielberg's name into a queer statement, accompanied by a bio promising to write the b-sides that make a small portion of the world cry. They have been posting from Brooklyn since joining the platform in August 2009, long before their feature debut. Before entering the film industry, Schoenbrun worked as a producer on The Chris Gethard Show, a cult public-access series that later found a home on Comedy Central. Their Instagram presence, @janedoesnotknow, leans into the anonymity of the classic "Jane Doe" trope. A defining legend in their career lore involves the massive cultural ripple effects of We're All Going to the World's Fair, which became a definitive work of modern digital horror and established their reputation for exploring online identity. More recently, the narrative has shifted toward their transition and the release of Teenage Sex and Death at Camp Miasma, described explicitly as a killer trans film that serves as a love letter to teen horror while tackling the toxic soup of the slasher genre through a queer lens.[edit]

Details about Schoenbrun's family are scarce. They were born in New York City and raised in Ardsley, New York, but have not publicly shared much about their parents or siblings. What is known is that their upbringing in the suburbs, with its mix of boredom and longing, has informed the moody, nostalgic quality of their films.

Schoenbrun currently lives in Brooklyn, New York, where they continue to write and develop new projects. They are openly queer and transgender, and have spoken about how their personal journey shapes their art. [edit]

Hannah Einbinder and Gillian Anderson star in Schoenbrun's 2026 film Teenage Sex and Death at Camp Miasma. Martin Scorsese, Paul Schrader, and Emma Stone have all publicly expressed admiration for Schoenbrun's work. [edit]

Public information about Jane Schoenbrun's romantic life is nearly nonexistent. They are openly queer and transgender, and have discussed how their personal experiences of sexual awakening inform their films, but they have not publicly documented any specific partners, marriages, or long-term relationships.

As of 2026, Schoenbrun's relationship status is unknown. No credible sources confirm whether they are single, dating, or in a partnership. They appear to keep this aspect of their life private, choosing to let their work speak for itself. [edit]

iFANN currently estimates Jane Schoenbrun's net worth in 2026 at $2 Million. As an independent filmmaker, their income flows primarily from film production budgets, distribution deals, and writing fees. Their first two features were backed by A24, which likely provided modest budgets for indie productions, and the success of I Saw the TV Glow likely boosted their earning power significantly. For Teenage Sex and Death at Camp Miasma, the budget was reportedly higher, and the film's theatrical release in August 2026, along with merchandise like VHS sleeves and trading cards, adds to their revenue streams. Schoenbrun also earns from streaming residuals and festival fees. While not a blockbuster figure, this valuation reflects a solid career trajectory for a filmmaker with three acclaimed features.[edit]

While Jane Schoenbrun's films have received widespread critical acclaim, specific award wins are not documented in available sources. Their work has been celebrated at festivals and by critics, but a comprehensive list of wins is pending further research. [edit]