We’re All Going to the World’s Fair is an intimate coming-of-age horror film

Jane Schoenbrun's latest film, "Teenage Sex and Death at Camp Miasma," is currently being showcased in theaters and has garnered attention for its unique approach to the slasher genre. The film is described as both an homage to and a deconstruction of slasher tropes, with Schoenbrun characterizing it as an exploration of the "toxic soup" inherent in these films. The narrative aims to create a mindset that allows audiences to enjoy something scary while incorporating subtle pieces of nostalgia that enhance its thematic depth (Deadline, Rolling Stone). Critics have noted that the film pushes the boundaries of the horror genre by venturing into spaces that appear artificial yet evoke genuine emotions. This innovative storytelling reflects Schoenbrun's desire to challenge conventional expectations of horror films, inviting viewers to confront the underlying messages often present in slasher narratives (IndieWire). A significant element of the film's commentary is the frequent symbolism of candy and junk food, which contributes to its thematic richness (Deadline). During the U.S. premiere, Hannah Einbinder, who stars in the film, expressed optimism about the future of queer cinema, hoping that the success of films like "Teenage Sex and Death at Camp Miasma" would lead Hollywood to trust queer filmmakers and showrunners more (Variety). Critics have praised the film as one of the standout films of the year, highlighting its unique blend of horror and artifice, as well as Schoenbrun's keen awareness of the genre's history (PRIMARY SOURCE). Overall, "Teenage Sex and Death at Camp Miasma" has been recognized for its innovative approach to storytelling and its ability to engage audiences on multiple levels, making it a noteworthy addition to contemporary horror cinema (Rolling Stone).