The debut film by Jane Schoenbrun, We’re All Going to the World’s Fair, offers a unique take on the horror genre by intricately weaving elements of body horror and a coming-of-age narrative. Following the release of Schoenbrun’s latest cinematic venture, Teenage Sex and Death at Camp Miasma, their initial film is gaining renewed attention for its distinctive storytelling approach.
An Innovative Horror Experience
The film introduces us to Casey, a teen participating in the World’s Fair Challenge, an online horror game that blends the eerie sensation of an ARG with the personal exposure of a viral challenge. Casey’s chilling ritual, performed in her room, includes repeating a haunting mantra and self-inflicting a pin-prick-induced wound to draw blood. This unsettling introduction immediately grabs the audience’s attention, utilising familiar horror motifs in an undeniably fresh context.
Exploration of Solitude and Transformation
As the film progresses, participants of the challenge report bizarre changes, such as transforming into plastic or having their bodies morph into Tetris shapes. However, beneath these horror elements lies a deeper narrative: Casey’s isolation and her struggle to connect with others in the digital space. Her existence seems devoid of real emotional bonds, with her father only heard angrily yelling from offscreen, amplifying her sense of loneliness.
A Void of Sexualisation
Unlike many films in the coming-of-age genre, World’s Fair concentrates on Casey’s search for community and belonging, rather than her sexual discovery. Her journey remains respectfully devoid of any sexualisation, despite living in a hyperconnected online environment.
Unnerving Relationships
Adding complexity to the narrative is JLB, a reclusive middle-aged man who warns Casey of potential risks. His interactions with her introduce a troubling sense of unease, teetering on the edge of grooming. The film’s voyeuristic method of storytelling provides viewers with a profound sense of discomfort, as it navigates themes of vulnerability and manipulation.
A Distinctive Voice in Indie Horror
Though it may not boast the exaggerated eeriness of films like I Saw the TV Glow or Camp Miasma, We’re All Going to the World’s Fair illustrates an innovative use of horror elements to explore profound personal themes. Its unique ability to immerse the audience in ambiguity and discomfort sets it apart within the genre.
Viewers can currently stream We’re All Going to the World’s Fair on platforms such as Criterion Channel, Kanopy, and Hoopla.
Reporting based on coverage first published by theverge.com.