Jane Schoenbrun’s We’re All Going to the World’s Fair has emerged as a defining work in contemporary horror, not just for its unsettling premise but for its nuanced exploration of adolescence. The film, which premiered at Sundance in 2021, has recently regained attention amid the release of Schoenbrun’s newer project, Teenage Sex and Death at Camp Miasma. While the latter has drawn praise for its bold narrative and technical execution, We’re All Going to the World’s Fair remains a cornerstone of Schoenbrun’s oeuvre, offering a masterclass in blending psychological tension with the raw vulnerability of youth. Its resurgence is not merely a product of the director’s evolving style but a testament to its enduring relevance in a genre often dominated by spectacle over substance.
What Happened
We’re All Going to the World’s Fair follows a group of teenagers navigating the surreal and often oppressive environment of a traveling world’s fair. The film’s setting—a labyrinth of carnival rides, neon-lit exhibits, and artificial attractions—serves as both a literal and metaphorical stage for the characters’ struggles. At its core, the story centers on a young protagonist, whose journey through the fair’s bizarre and sometimes terrifying displays mirrors the anxieties of growing up. The narrative is marked by its deliberate pacing, allowing the audience to linger on the characters’ emotional states as they confront the dissonance between the fair’s artificial glamour and the raw, often uncomfortable realities of their lives.
The film’s horror elements are not rooted in overt gore or supernatural occurrences but in the psychological unease it cultivates. Schoenbrun’s direction emphasizes atmosphere over shock value, using the world’s fair as a symbol of societal expectations and the performative nature of adolescence. Scenes of the characters interacting with the fair’s attractions—such as a haunted house or a roller coaster—are imbued with a sense of dread that arises not from external threats but from the internal conflicts of the protagonists. The film’s technical precision, including its use of practical effects and meticulous production design, enhances this tension, creating a world that feels both fantastical and deeply personal.
The film’s reception was initially modest, but it has since cultivated a cult following among horror enthusiasts who appreciate its subtlety and emotional depth. Critics, including The Verge, have highlighted its ability to transform the coming-of-age genre into a space for exploring fear and identity. The Verge’s review noted that the film “examines the anxieties of adolescence through the lens of a traveling world’s fair setting,” emphasizing how the environment amplifies the characters’ vulnerabilities. This focus on psychological horror, rather than traditional jump scares, has positioned We’re All Going to the World’s Fair as a unique entry in Schoenbrun’s body of work.
Why It Matters
The significance of We’re All Going to the World’s Fair lies in its ability to reframe horror as a medium for exploring the complexities of youth. In an era where horror films often prioritize spectacle or franchise-driven narratives, Schoenbrun’s work stands out for its introspective approach. The film does not merely depict teenagers as victims of external forces but portrays them as active participants in their own struggles, navigating a world that is both enchanting and alienating. This perspective resonates with contemporary audiences who are increasingly interested in stories that reflect the nuanced challenges of growing up.
Moreover, the film’s success has influenced Schoenbrun’s subsequent projects, particularly Teenage Sex and Death at Camp Miasma, which expands on similar themes of vulnerability and danger. Critics have noted that while the newer film delves into darker territory, it retains the emotional core established in We’re All Going to the World’s Fair. This continuity suggests that Schoenbrun’s exploration of adolescence is not a fleeting phase but a central thread in her storytelling. The film’s emphasis on authenticity—both in its portrayal of teenage experiences and its technical execution—has also contributed to its lasting impact. In a time when media often sensationalizes youth culture, We’re All Going to the World’s Fair offers a counter-narrative that prioritizes depth over drama.
Background and Context
Jane Schoenbrun’s career has been defined by her commitment to exploring the intersection of innocence and danger. Her debut feature, We’re All Going to the World’s Fair, marked a departure from the more formulaic horror films of the time, instead focusing on the psychological and emotional landscapes of its characters. This approach aligns with a broader trend in contemporary horror that seeks to challenge genre conventions by emphasizing character development and thematic depth. Schoenbrun’s work is often compared to that of directors like Ari Aster or Ti West, who similarly use horror as a vehicle for social commentary.
The world’s fair setting, while seemingly whimsical, is a rich metaphor for the performative nature of adolescence. The fair’s artificiality mirrors the way teenagers often navigate their identities through curated experiences, whether in school, social media, or other structured environments. Schoenbrun’s decision to place her characters in this environment allows her to critique the pressures of conformity and the loss of authenticity that can accompany growing up. The film’s production design, which blends retro aesthetics with modern horror elements, further reinforces this theme, creating a visual language that is both nostalgic and unsettling.
The film’s cult following can be attributed to its refusal to conform to mainstream expectations. Unlike many horror films that rely on formulaic tropes, We’re All Going to the World’s Fair demands active engagement from its audience. Viewers must piece together the characters’ emotions and the film’s underlying messages, which fosters a deeper connection to the material. This interactive quality has made the film a favorite among those who appreciate horror as an art form rather than mere entertainment.
What to Watch Next
For viewers interested in We’re All Going to the World’s Fair, the film serves as an excellent entry point into Schoenbrun’s work. Her subsequent projects, particularly Teenage Sex and Death at Camp Miasma,
Corrections
If you believe this article contains an error, contact Herald Express with the source URL and supporting evidence.
Story synopsis gathered from: The Verge — source
