We’re All Going to the World’s Fair is an intimate coming-of-age horror film
News Source
•2026-08-23T11:00:00-04:00
📰 What Happened
A film critic is inviting readers to revisit We're All Going to the World's Fair, the first feature made by Jane Schoenbrun. The timing lines up because Schoenbrun's newest horror film, Teenage Sex and Death at Camp Miasma, just opened in theaters. The earlier film is described as an intimate, quiet tale of growing up built around horror themes.
Rather than a loud monster movie, this first feature looks at coming of age through a low-cost, personal lens. The review says it remains a great example of how scary films can also be deeply true. Recommending it now gives a whole new audience a chance to see where Schoenbrun's style began and how sharp their vision still is.
🔍 The Backstory
Jane Schoenbrun became known as a director who uses horror to explore deep personal and emotional questions. Their earlier work was widely praised by critics who loved its honesty and slow, moody pace. Because it was filmed on a small budget, it shows what a creator can do with one main performer and a simple online world.
For years the film lived on festival talks and word of mouth. Now that the filmmaker has a buzzy new release from theaters, interest is circling back to the older film. Studios and fans are using this moment to trace how one director's ideas grew and changed across a few short years of fun and honesty.
🎯 Why It Matters
This review shows how one good film can launch a director's whole career. It reminds us that horror is not only scares, it is a sharp tool for telling fragile, real human stories.
A film critic is inviting readers to revisit We're All Going to the World's Fair, the first feature made by Jane Schoenbrun. The timing lines up because Schoenbrun's newest horror film, Teenage Sex and Death at Camp Miasma, just opened in theaters. The earlier film is described as an intimate, quiet tale of growing up built around horror themes.
Rather than a loud monster movie, this first feature looks at coming of age through a low-cost, personal lens. The review says it remains a great example of how scary films can also be deeply true. Recommending it now gives a whole new audience a chance to see where Schoenbrun's style began and how sharp their vision still is.
Jane Schoenbrun became known as a director who uses horror to explore deep personal and emotional questions. Their earlier work was widely praised by critics who loved its honesty and slow, moody pace. Because it was filmed on a small budget, it shows what a creator can do with one main performer and a simple online world.
For years the film lived on festival talks and word of mouth. Now that the filmmaker has a buzzy new release from theaters, interest is circling back to the older film. Studios and fans are using this moment to trace how one director's ideas grew and changed across a few short years of fun and honesty.
This review shows how one good film can launch a director's whole career. It reminds us that horror is not only scares, it is a sharp tool for telling fragile, real human stories.