The last couple of years have presented filmmakers worldwide with various obstacles and have, in some cases, forced them to think outside the box. Thankfully, this has resulted in some of the most intriguing and unique films in recent memory and that is definitely the case with Jane Schoenbrun’s debut feature indie-smash-hit, We’re All Going To The World’s Fair.

Blurring the lines between reality and myth, the narrative follows Casey (Anna Cobb in her feature debut), a young teenager who decides to take part in a viral challenge called “The Worlds Fair” in which you offer a blood sacrifice and recite the words “I want to go to the Worlds Fair” whilst watching a trippy video. Soon after taking part in this ‘challenge’, Casey begins to document herself and posts it online and strange things start to happen – but is this story to be believed or is the viral nature of other people’s stories taking over and becoming reality?

In an age where a lot of us take in huge amounts of content in various forms on a daily basis, it is clear to see that a lot of people today take what they read or watch online as gospel. Schoenbrun’s use of this very real core and adding a unique spin on it by truly making you as the audience member feel a part of the narrative by making you also question what is real is nothing short of genius. A brilliant blend of screen-horror, similar to that of Unfriended, a sampling of what feels like found footage and underlying tones which also make this a coming of age tale all together creates a remarkable slow burn of unease that will sit with you for many hours after the credits roll.

Although this form of storytelling may not sit easy with everyone due to its feeling very new, We’re All Going To The World’s Fair stands tall on its own as something visually interesting and unique that will cause unease and crawl under your skin.