Late on a cold night somewhere in the U.S., teenage Casey (Anna Cobb in her feature debut) sits alone in her attic bedroom, scrolling the internet under the glow-in-the-dark stars and black-light posters that blanket the ceiling.  She has finally decided to take the World’s Fair Challenge, an online role-playing horror game, and embrace the uncertainty it promises.  After the initiation, she documents the changes that may or may not be happening to her, adding her experiences to the shuffle of online clips available for the world to see.  As she begins to lose herself between dream and reality, a mysterious figure reaches out …

“Low-key, dark, and emphatically superb” – Alexandra Heller-Nicholas, AWFJ Women on Film

“Throughout, Jane Schoenbrun reveals themself to be adroitly plugged into both the current technological and sociological landscape.” – Mark Hanson, Slant Magazine

“Amounts to an unusually intimate, interior coming-of-age study.” – Guy Lodge, Variety

“By the film’s end, “We’re All Going to the World’s Fair” proves its ASMR-like power: It’s impossible to shake, even when it makes you want to do just that.” – Kate Erbland, indieWire

“A tender and intimate teenage journey.” – Jourdain Searles, Hollywood Reporter

“It’s a strong debut for both Schoenbrun and Cobb, capturing a profound sense of contemporary adolescent loneliness that many artists have tried (and failed) to portray on screen.” – Hannah Strong, Little White Lies

“This deeply relevant and authentic look at the various layers of internet culture feels both perfectly relatable and over the top for the cinematic expression.” – Carson Timar, Clapper

“A foreboding statement that the need for connection and the vastness of the internet can be a dangerous mix.” – Murjani Rawls, Substream Magazine

“Beautifully realized and stunningly acted, We’re All Going to the World’s Fair plays out like the indie weird second-cousin of Bo Burnham’s Eighth Grade, and therefore has to be seen.” – Kat Hughes, THN

“All at once sinister and sad, unnerving and oddly optimistic, this is a contemporary drama of disconnection where play quickly becomes serious, and where damaged, vulnerable people easily fall through the digital cracks.” – Anton Bitel, Projected Figures

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