''We’re All Going to the World’s Fair' positions itself as a game-changer for movies about the internet because of how it understands virality, and one that could prove seminal for a generation fundamentally enmeshed in it,' Chris Feil writes
towers creatively over similar films for its insights into the ways we live online.positions itself as a game-changer for movies about the internet because of how it understands virality, and one that could prove seminal for a generation fundamentally enmeshed in it. Part of what makes something viral is that it allows for and demands interpretation.
Schoenbrun painfully taps into the idea that, while the World’s Fair is a collective experience, that doesn’t mean Casey is able to find community within it. If anything, it is something that ultimately isolates her further. As Casey begins to unravel, the film makes the audience both an active participant in the game and compliant to its deceptions.
This is only enhanced by a virtual viewing experience, as the film received when it debuted to praise at the 2021 Sundance Film Festival, one of the first and largest to occur entirely online. There was a unique power to viewing this film on a computer screen, one that made you question your own mythologizing of yourself on the internet. As the film begins its theatrical life ,will go from a private experience to a public one.
But the surprise of Schoenbrun’s vision is that it offers the unsettling in equal measure with a bruised tenderness. As much as its hybrid multimedia visual approach is difficult to categorize, so is its emotional terrain. Imagine the creeping
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