Looking for a reset, a troubled young woman dealing with tragedy takes a job at a summer camp with secrets in Avalon Fast’s Camp. Presented as part of the Seattle International Film Festival 2026, it’s a low-key, slow-burning coming-of-age film I wish I liked more.
In Camp, written and directed by Avalon Fast, after a traumatic experience, a young woman looks for a second chance by getting away, taking a job at a summer camp. There, she can confront her past, reset her future, and find herself. But nothing is what she expects, with a wonderful collection of women to meet, but also finding it’s a Christian camp. Yes, she accidentally signed up to be a counselor at the God Camp. Damn anyone for doing any research whatsoever (what’s with the easy hiring practices at camps between this and Black Phone 2?) But don’t worry, this isn’t Jesus Camp’s fictional version. Nor is it finding herself with the power of god (if you know me, that isn’t the sort of thing I’d cover). The religious aspect of the camp is minor and acts as a foil to themes of female connection, self-actualization, and witchcraft.
There’s a lot that works in Camp. Fast’s script feels personal and comes from a deep place. It has a solid grasp on most of the characters, although some are strangely contrived. Zola Grimer is great in the center. There’s a natural feel around her, coming off easy and true. That can be said about most of the other women, especially Alice Woordsworth and Cherry Moore, as her closest new connections. There is amazing chemistry within the cast. It’s a very low-key affair, a slow burn of connections. The women party, have deep talks, help each other, and act when needed. I appreciated the character pieces. Camp is ultimately a coming-of-age film with witchcraft additions. Of looking at the past, finding oneself and people, and making the future work for you. I love what the women do together. Camp is a very positive film. This isn’t The Craft with divisive witchiness. Camp is a film allowing each ot the women to set their tones, set their needs, and follow through. That might not be enough to grasp many who want a bigger hook. I get that, a want for more horror in the situation, earlier.
I loved the look Fast brings to Camp with the help of cinematographer Eily Sprungman. It’s a film of a darkened palette, with deep shadows and depth. It has a texture. So much of the shoot is at night, in the woods, lit by firelight or a minimal number of sources, and damn if it’s not gorgeous. Add in 8mm bits that harken to Emily’s past (heh, also Black Phone 2), fog-enshrouded lakes, and a general homespun feel, and we have a winner in design. I worked so long at summer camps, and personally seeing the cabins brings me back ot my own memories.
Camp is a film I wish I had enjoyed more than I did. It’s all there: a series of great performances, an ethereal dreamlike feel, a sense of belonging and truth, and who doesn’t love some low-key witchcraft? But it never solidified into something pointed. Camp is directionless, soft. I was waiting for that next push, that cohesive glue to bring it together and come out with a sense of completion. I appreciate the chill vibe, avoid big melodrama unless needed, even then keeping a lid, but it needed a little more bite, a bit more tightness. 
I fully expect this to work better for others, even though it didn’t fully grasp me, although I appreciate what’s there. I texted Kim right after I finished and said she might like it far more than I did. I originally thought I’d not review, let it simmer in my brain, and leave a likely better Kim review, but ultimately decided it doesn’t hurt to have two. I’m curious about Ms. Douthit’s response and others. It’s the sort of thing where I feel I missed something, but not being the target audience, of a different gender and generation.
Camp, by Avalon Fast, is a film of ethereal beauty and strong characters, with empowering performances and themes. But it didn’t fully work for me. It might for you, and I hope it does. Camp is presented as part of the Seattle International Film Festival, running May 7th through 17th, 2026. See siff.net/festival for additional information.