The Plague Review: A Brutal Dive into Tween Psychology at Water Polo Camp
Set against the backdrop of a boy's water polo training camp in the summer of 2003, Charlie Polinger's debut feature, The Plague, plunges viewers into a submerged world of concealed psychological depths. This film meticulously scopes out the brutal, animal-like hierarchy that governs the lives of these young athletes, driven by braggadocio, bullying, hazing, and gaslighting. From the stunning initial shot of a pool glittering like a starfield, Polinger brings an impressive stylistic bite to this tween hellscape, evoking the trenchant intent often associated with directors like David Fincher.
A Descent into the Jungle of Adolescence
The story follows latecomer Ben, played by Everett Blunck, who is thrown into the deep end upon his arrival at the camp. Desperate to ingratiate himself with the cool crowd, lorded over by the impish Jake portrayed by Kayo Martin, Ben aims to avoid the pariah status of house lummox Eli, enacted by Kenny Rasmussen. Eli is supposedly afflicted with a made-up disease the brats dub "the plague," with anyone who touches him forced to scrub themselves to avoid symptoms of diminished brain function and terminal dorkiness. Despite the insistence of coach Daddy Wags, played by Joel Edgerton, that Ben should just be himself, he meekly falls in with Jake's psychological operations.
Stylistic Mastery and Narrative Influences
The first hour of The Plague is fantastic, echoing the juvenile initiation rites seen in Lucile Hadžihalilović's work and featuring bursts of Larry Clark-esque wantonness in a drunken bin fire blow-out. Polinger demonstrates visual sharpness as he observes Jake's mob almost like a nature documentary, coupled with a keen ear for the nonsense piped direct from the 12-year-old imagination. Conversations here span topics such as 90s rock outfit Smash Mouth, pirate exclamations, the ethics of bestiality, and methods to fake chopping off one's own thumb, adding layers of dark humor and realism.
Flirting with body horror, the film never quite resolves its suggestion that the plague could be psychosomatic, even if not entirely real. As Ben gravitates toward the oddball corner, The Plague begins to succumb to predictable beats and divulges its influences too easily, such as framing Eli as a prepubescent Private Pyle and lifting its ending from Beau Travail. However, beyond an ever-reassuring performance by Joel Edgerton, the three young performers stand out in their unfiltered rawness: Blunck clammily eager to please and increasingly disturbed, Martin intimidating despite his tiny stature, and Rasmussen stretching a cartoon geek role into genuinely unsettling outsiderdom.
Conclusion: A Memorable Education in Tween Dynamics
This film serves as a memorable education in the laws of the tween jungle, blending stylistic innovation with psychological exploration. The Plague is set to be available on digital platforms from 20 April, offering audiences a compelling look at the harsh realities of adolescent social structures. With its unique blend of drama and visual flair, it marks a promising debut for Charlie Polinger in the realm of cinematic storytelling.
