Teenage Sex and Death at Camp Miasma Director Jane Schoenbrun Wants to Helm the Nightmare on Elm Street Reboot
At the LA premiere of their new meta slasher, the writer-director revealed they would “love” to take the reins on Paramount’s reimagining
by Alex Kaan 16 August 2026
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Jane Schoenbrun has thrown their hat in the ring to direct the Nightmare on Elm Street reboot for Paramount.
Speaking at the LA premiere of Teenage Sex and Death at Camp Miasma, their psychosexual, meta take on the slasher subgenre starring Hannah Einbinder and Gillian Anderson, the director told Screen Rant that A Nightmare on Elm Street is the horror franchise they would want to revive.
“I’m trying to get a meeting on this Nightmare on Elm Street thing,” said Schoenbrun of Paramount’s reboot. “I would love to do that.”
Schoenbrun is known for their indie horror films exploring trans and queer themes, and is especially recognised for their 2024 psychological horror film I Saw the TV Glow from A24, which follows two teenagers (Justice Smith and Jack Haven) whose 90s small-town life unravels when one of them becomes convinced that the world of their beloved Buffy-esque TV show is real.
After their meta deconstruction of the subgenre with Camp Miasma, the Nightmare on Elm Street reboot would presumably see Schoenbrun make a more traditional slasher.
The reboot of A Nightmare on Elm Street, the slasher franchise started by Wes Craven’s 1984 classic, is in development after Paramount Pictures inked a deal for the US rights to Craven’s original screenplay. The film is in the works under the studio’s new genre label, Paramount Primal, led by producing duo J.D. Lifshitz and Raphael Margules (Weapons, Barbarian).
As per copyright law, the rights reverted to the Craven estate after 35 years, and the renowned director’s widow, Iya Labunka, and his son, Jonathan Craven, licensed them to Paramount. “We look forward to bringing the world of Wes Craven’s Nightmare on Elm Street to a new and completely engaged generation of fans,” said Labunka. “We know that Wes would have been thrilled to see how horror is taking its long overdue place in the cultural canon.”