Movie Review: We’re All Going to the World’s Fair (2021)
Synopsis
"We’re All Going to the World’s Fair," directed by Jane Schoenbrun, is a haunting exploration of the modern digital age and its impact on youth identity through the lens of an online horror role-playing game. Set in the confined world of a teenager named Casey, portrayed by Anna Cobb, the film delves into the psychological landscape shaped by internet culture, as well as the longing for connection in a world where reality often feels distant.
The story commences as Casey decides to participate in the unsettling online challenge known as the World’s Fair, an immersive game involving ritualistic video recordings and increasingly eerie experiences. As she documents her journey and undergoes the “transformation” promised by the challenge, the boundaries between her virtual life and reality begin to blur.
Through a series of vlogs that highlight her home life and online interactions, we witness Casey’s existential struggle against feelings of isolation and disconnection. Her only semblance of communication comes from two online friends, one of whom is a more mature figure voiced by a character named The Man, played by Michael J. Rogers. As the narrative unfolds, the film weaves a disconcerting web of familial neglect, online personas, and the profound effects of digital culture on young minds.
Throughout the film, we are introduced to unsettling imagery and a haunting score that amplifies Casey’s psychodrama. The camera often remains fixed on Casey’s face, granting the audience an intimate view of her evolving psychological state as she traverses the chilling terrains of her imagination and online presence.
List of Actors and Their Characters
- Anna Cobb as Casey
- Michael J. Rogers as The Man
- Lindsey Andrea as Anna
- Jay L. Clift as a Secondary Character
Review
In evaluating "We’re All Going to the World’s Fair," one must consider both its narrative ambition and execution. Schoenbrun excels at creating an atmospheric sense of dread and alienation that permeates every frame. The film operates not just as a horror story but as a commentary on the vulnerabilities of youth in the digital age.
The portrayal of Casey by Anna Cobb is a standout performance, distinguishing her as a formidable young talent. Cobb exhibits vulnerability and depth, allowing audiences to empathise with Casey’s turmoil and isolation. The performance is nuanced, evoking the quiet desperation of a teenager immersed in a world that is often indifferent to her existence. The character’s emotional shifts are evocative, effectively capturing the zeitgeist of youthful uncertainty, especially as she tries to navigate both the real world and her virtual interactions.
Jane Schoenbrun’s direction is intentionally minimalist, which enhances the film’s unsettling tone. Long, drawn-out sequences leave the audience suspended in discomfort, embodying Casey’s disconnection not only from her surroundings but also from herself. The filmmaker’s choice to rely heavily on static shots and close-ups draws the viewer into Casey’s inner world, making them privy to her hopes, fears, and increasingly fractured state of mind.
In stark contrast to conventional horror films that rely on jump scares and graphic imagery, "We’re All Going to the World’s Fair" takes a more cerebral approach. The horror elements are emergent and suggestive rather than overt. Schoenbrun opts to explore the horror that exists in the spaces between connection and loneliness, reality and fiction, leaving the audience to fill in the blanks with their perceptions and experiences.
The utilization of the online game as a narrative device serves to highlight the nature of modern adolescence, underscoring themes of isolation and the search for identity in an increasingly digital landscape. The horror of the film is not merely the potential threat embodied within the game but the existential dread that comes from the realisation of one’s own solitude and the difficulty of forging true connections amidst the noise of the virtual world.
Accompanying the narrative is the film’s haunting score, layered with ambient noise and dissonant tones that contribute to the unsettling atmosphere. The sound design is critical to establishing the film’s mood, enrapturing the viewer in Casey’s increasingly distorted reality. The psychological dread is amplified by the lingering, throbbing sound of isolation that pervades the film.
However, this minimalist approach relies heavily on the viewer’s patience. Some audiences may find the slow pacing and reliance on ambiguity to be frustrating or disjointed, ultimately abandoning the film before it reaches its conclusion. The story’s unresolved nature, perhaps intentionally, may leave some viewers seeking closure that may never arrive. Yet, this is precisely where the film’s power lies—it mirrors the unpredictable and often unresolved nature of youth’s search for identity in a world filled with distractions and digital presence.
Another noteworthy aspect of "We’re All Going to the World’s Fair" is its subversion of traditional gender narratives in horror. Casey’s character is given space to explore her fears and insecurities without being relegated to a mere archetype of horror tropes. She is complex and relatable, representing a new wave of characters in horror who aren’t defined solely by their female identity but rather by their psychological depth and emotional truth.
In the end, "We’re All Going to the World’s Fair" is an unsettling, thought-provoking film that speaks to the heart of contemporary youth culture. It splendidly encapsulates the terror of living in a world where virtual interactions can feel more substantial than real-life connections, offering a poignant reflection on isolation and the search for meaning in a digitised landscape.
Conclusion
In conclusion, Jane Schoenbrun’s "We’re All Going to the World’s Fair" is a masterful exploration of psychological horror, wrapped in the cloak of digital culture. With Anna Cobb’s haunting portrayal of Casey and a uniquely unsettling atmosphere, the film serves as both a haunting narrative and a sharp critique of contemporary adolescence. It elegantly synthesises the themes of loneliness, identity, and the shift in human connection brought on by the internet, making it a profound experience for those willing to immerse themselves in its contemplative depths.
Rating: 8.5/10
A must-watch for those intrigued by the intersection of horror and human emotion, but perhaps not for those seeking conventional thrills.
