Schoenbrun’s debut horror film finds new life as director’s latest hits theatres
The Verge’s new assessment of We’re All Going to the World’s Fair highlights its intimate exploration of digital belonging, positioning the 2021 indie original against the backdrop of the director’s current theatrical release.
With Jane Schoenbrun’s latest feature, Teenage Sex and Death at Camp Miasma, currently making a splash in theatres, The Verge has published a review suggesting it is the perfect moment to revisit the director’s 2021 debut, We’re All Going to the World’s Fair. The publication characterises the film as an intimate coming-of-age horror piece that stands apart from other works in the genre, offering a distinct perspective on youth and isolation.
The narrative centres on Casey, a lonely young girl who participates in the "World’s Fair Challenge," an online ritual blending elements of an alternate reality game and a viral trend. The review notes that the film delivers horror tropes through the lens of a protagonist alone in her room, staring directly into a webcam, creating an unsettling and voyeuristic quality. Casey’s physical reactions to the ritual, including drawing blood with a pin, are described as particularly visceral.
Unlike many coming-of-age films that focus on sexual awakening, World’s Fair avoids sexualising its protagonist. Instead, the story explores Casey’s desperate search for belonging in a digital world, where she uploads videos documenting the nebulous changes she experiences after performing the challenge. Her father is present only as a voice, adding to her sense of isolation, while she never interacts with peers her own age.
A significant layer of unease is introduced through JLB, a lonely middle-aged man who claims Casey is in danger. The Verge notes that while the film never explicitly states the nature of their dynamic, it appears that JLB is attempting to groom the vulnerable Casey. This ambiguity allows the movie to stew in discomfort, blending horror elements with intimate glimpses into the life of a young girl.
The review acknowledges that while the film may not reach the surreal or campy heights of Schoenbrun’s previous work, I Saw the TV Glow, or the current Camp Miasma release, it remains a rare indie cinema original. The Verge praises the film for using body horror tropes in new and interesting ways to explore themes of connection and alienation.
For viewers seeking to watch the film, The Verge confirms that We’re All Going to the World’s Fair is currently available to stream on the Criterion Channel, Kanopy, and Hoopla.
