We’re All Going to the World’s Fair 2022 Movie Review

Title: We’re All Going to the World’s Fair: A Haunting Dive into Digital Existence

Rating: ★★★★☆ (4/5)

As I sat down to watch “We’re All Going to the World’s Fair,” I was unsure of what to expect. Little did I know that this cinematic gem would take me on a mesmerizing journey, exploring the depths of isolation, identity, and our insatiable desire for connection in the digital age.

Directed by Jane Schoenbrun, this indie psychological horror film cleverly blurs the line between reality and virtuality, leaving you questioning your own perception of both. The plot revolves around Casey (played brilliantly by Anna Cobb), a lonely teenager who decides to immerse herself in an online role-playing game called “The World’s Fair Challenge.” Little does she know that her participation will unravel a series of eerie events that meld her virtual existence with her real life.

The film excels in its character development. Anna Cobb portrays Casey with such vulnerability and authenticity that it becomes impossible not to empathize with her lonely world. Her nuanced performance captures the essence of teenage angst while delving deeper into themes of self-discovery and alienation.

Schoenbrun’s direction is impeccable; they skillfully maintain an air of suspense throughout the movie. The use of atmospheric sound design heightens tension during critical moments, immersing you further into Casey’s psyche. The haunting score perfectly complements each scene, enhancing emotional impact without overwhelming it.

Visually captivating cinematography adds depth to every shot. The deliberate use of framing showcases Casey’s fragmented reality as she wades deeper into the dark corners of cyberspace. Production design plays a vital role as well, illustrating stark differences between Casey’s monotonous existence outside “The World’s Fair Challenge” and its fantastical online realm.

Special effects are wisely used sparingly but effectively when needed most. The moments when reality and virtuality blend together blur the boundaries of what’s real, leaving you with a lingering sense of foreboding. These instances strike a perfect balance between subtlety and spectacle.

The editing elevates the film by maintaining a steady pace while allowing scenes to breathe naturally. Transitions between Casey’s physical world and her digital escapades are seamless, emphasizing the interplay between reality and perception.

However, despite its many strengths, “We’re All Going to the World’s Fair” occasionally stumbles in its dialogue. At times, conversations feel stilted or lack depth, failing to fully capture the complexity of Casey’s emotional journey. Although this may be intentional in showcasing her loneliness and inability to connect with others offline, it can sometimes hinder engagement.

What resonates most about this film is its ability to tap into universal human experiences: loneliness, identity exploration, fear of intimacy—the list goes on. “We’re All Going to the World’s Fair” leaves you pondering our increasingly interconnected yet isolating world—a haunting reminder that our search for connection might lead us down unexpected paths.

In conclusion, “We’re All Going to the World’s Fair” is an engrossing dive into digital existence that impresses with its unique storytelling approach. With mesmerizing performances from Anna Cobb and Schoenbrun’s masterful direction steering us through murky territories of isolation and self-discovery, it lingers long after the credits roll. While some shortcomings hindered total immersion at times, this thought-provoking gem deserves recognition for daringly exploring themes relevant in our technology-driven era.

So venture forth into “The World’s Fair Challenge,” but prepare yourself for an unsettling journey—one that will stir your emotions as you question your own place within both reality and virtuality.

We’re All Going to the World’s Fair – Official Trailer (2022) Anna Cobb, Michael J. Rogers official trailer