This horror movie made the internet scarier than any horror movie ever could

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• We’re all going to the World’s Fair
  Jane Schoenbrun’s debut horror film tells the story of a teenage girl who loses her grip on reality when she plays an online role-playing horror game and discovers it’s more real than she bargained for.
• The film perfectly captures what it’s like to grow up in the rise of the internet age, exploring how easy it is to get lost in the darkest places of the digital world.
• Schoenbrun previously made a documentary about the legend of Slender Man, and her knowledge of how the creepy spaghetti came to define a generation is reflected in
  We’re all going to the World’s Fair
  Try to create a personalized, deeply immersive experience.

We’re going to the World’s Fair is a gem of a horror movie that takes viewers to the darkest corners of the internet. Directed by Jane Schoenbrun in her first horror film, the film tells the story of Casey, a teenage girl who spends all her free time Used to explore the Internet. When she stumbles upon a popular role-playing game called World Fair Challenge, Cassie begins to lose her grip on reality.

Despite causing quite a stir at the Sundance Film Festival and being picked up by Max, We’re going to the World’s Fair Overlooked by many horror fans. The film was far from a traditional horror story, but it was deeply touching for many viewers. Following an impressive debut, Schönbrunn returns in 2024 with an A24 horror film, I saw the TV glow.

We’re going to the World’s Fair to capture what it’s like to grow up on the internet

• The first camera-style horror film to captivate audiences was The Blair Witch Project.

Since the advent of the internet, the film industry has made many attempts to capture the horrors that come with it. Many people think of technology as a tool to bring people around the world closer to each other, but technology often has the opposite effect, driving people further away from each other and exacerbating people’s feelings of isolation. Plus, connecting with other people on the internet allows users to finally feel understood, albeit not in a good way.

Easy access to vast amounts of information is a double-edged sword, and ultimately those most affected are teenagers. When people cannot find comfort in reality, they turn to the Internet as a safe haven, where they stumble upon supposedly private corners of the digital world.kathy’s journey We’re going to the World’s Fair Perfectly captures the dark side of growing up on the internet: late-night searches for creepy pasta and mysterious places to explore, until something slightly off makes sleeping a near-impossible task.

forward We’re all going to the World’s Fair, Schönbrunn has produced a full-length documentary about the legend of Slender Man, one of the most beloved creepy spaghetti stories of all time.This movie is called self-induced hallucinationsdemonstrating her treatment of the subject and its major impact We’re all going to the World’s Fair. Although fictional, World Fairness Challenge perfectly reflects the impact the internet has on its users and how creepy spaghetti has shaped the spectrum of a generation.

In the movie, Cassie finds an opportunity to be seen and understood in the game, to the point where she begins to believe it’s real. As a good horror film, We’re all going to the World’s Fair Hopefully viewers will also question what is real and what isn’t, summarizing the point of the internet: as long as people believe something is real, it can be real. Through the Internet, the World Fairness Challenge comes to life, impacting Cathy in the real world.

What makes it so scary for us all to go to the World’s Fair?

We’re all going to the World’s Fair is a unique kind of body horror in which the violation of the body is part of a process triggered by the immateriality of the Internet transforming its physical container. In the film, contestants in the “Expo Challenge” must say “I want to go to the Expo” three times into the camera, smear blood on the computer screen, and watch a mysterious strobe video. Soon, their bodies will begin to change. In one scene, Casey watched a user describe how the “World’s Fair Challenge” affected him, showing strange bruises on his skin. Soon after, Kathy’s own body began to change, and she documented the process.

It’s unclear to viewers whether Cassie was actually a victim of the World Fairness Challenge, or if she was simply using it as a tool to channel her own fantasies and insecurities into the game to make her feel whole. part. Simply being a part of something, no matter how strange or dangerous, is often enough to distract someone from the isolation of the real world.

This movie shows how easily people can be manipulated by what they see on the internet, and how much people want it to be true. Viewers get to see two versions of Kathy: a teenage girl who always wanders alone in the woods and the internet version of Kathy, a part of the collective mind affected by the “World’s Fair.”The collision between these two versions is a synthesis of We’re all going to the World’s Fair, Many viewers will feel that Cassie’s strange journey represents this.

Schönbrunn’s film doesn’t rely on cheap scares or violence to scare its audience: it’s the relatability factor that turns the film into such a chilling, immersive experience. For many, We’re all going to the World’s Fair Might be viewed as just a casual character driven horror story. Not everyone will be happy with the film’s experimental approach, as much as the reception is divisive, but for those who grew up exploring the dark corners of the internet, the nostalgia will show how easily they can get lost in the digital of unknown depths. world. All the memories of netizens who one day disappeared without a trace, all the websites and forums that kept so many people sane, and all the weird user reports that may or may not be true. For better or worse, they eventually become an inaccessible part of a fading reality.

We’re Going to the World’s Fair to Explore the Transformation of Horror Films in the Digital Age

The technology and horror genres have always locked hands. The early 2000s saw a boom in Japanese horror films, using the advent of the digital age as a vehicle to express existential horror and supernatural threats: cairo and Lin Gu These are all good examples that even won American remakes.At the same time, the transition from film to digital marked the beginning of horror footage, e.g. The Blair Witch Project and paranormal phenomena Revolutionizing the genre. Horror must channel the unknown and the unexplained in order to work. As technology continues to evolve, new fears are transformed into scary stories.

in some meaning, We’re all going to the World’s Fair yes Totally understands the zeitgeist of internet quarantine, especially considering the film was released in the immediate aftermath of the COVID-19 pandemic. To give the impression that the story coexists in real life and in the computer, Schönbrunn used existing camera tropes to create or destroy a sense of immediacy. There are many moments where Kathy is captured on camera as if the audience is watching her from the other side of a computer screen. Additionally, she was seen playing with cameras in and around her home, as if an unseen force was watching her.

This isn’t the first time video footage has been found being used to translate language on the internet. However, this film perfectly illustrates how much this subgenre has changed: it has long ceased to be about what has been discovered and now about what has yet to be discovered.It’s hard to define what type of movie We’re all going to the World’s Fair Yes, but it meets all the criteria of a growing horror subgenre: simulation horror.

This approach has been popularized recently by Backrooms videos and experimental horror films skinnermark, which is to induce fear through familiarity and nostalgia. Mock horror movies and videos rely on grainy images that evoke childhood memories and old-fashioned visual recognition.in the case of We’re all going to the World’s Fair, The film welcomes a new generation that grew up in front of computers instead of television screens.