We're All Going to World's Fair' (2021) – Jane Schoenbrun.

A fragile, isolated, almost mournful young woman (Anna Cobb) uploads the singular experiences of her spooky World's Fair Challenge, and it is not long into her increasingly odd shenanigans when a middle-aged, patently skeevey observer begins to play his very own profoundly unsettling game. Immediately after viewing WAGTW, I felt a tad unmoved, since it initially failed to deliver much in the way of palpable horror weirdness, but, unexpectedly, I spent much of the evening ruminating about Casey's murky online misadventures. Gamine Anna Cobb is truly delightful as the anxious, Manga-eyed, horror-loving Casey, and her lively performance proved compelling. Withdrawn in her insular, laptop-hued Attic world, estranged from an aggressive patriarch, Casey is a somewhat piteous creature, a disenfranchised, blithely weirdness-seeking teenager groomed by an equally internet-fixated middle-aged fiend. My reading of Schoenbrun's oblique film as a moodily surrealistic treatise on web-lurking abusers might be off, but this disquieting narrative, real, or wholly imagined, kinda stuck with me more than I thought it would. The terse, starkly silent scenes of the disturbed man prowling angstily through his blandly palatial, conspicuously family-less family home is sinisterly suggestive of an altogether malign backstory.