Charlie Polinger’s debut film, "The Plague," acts as a vivid and unsettling examination of juvenile cruelty within a distinctive setting - a 2003 water polo camp. Unlike what the title might suggest, it avoids references to disease or horror genres, focusing instead on the submerged tensions amid chlorinated pools and dim corridors where a group of 12-year-old boys navigate their social worlds.
At the film’s center is Ben (Everett Blunck), a slight and perceptive boy arriving midway through the camp session. His late entrance places him at an immediate disadvantage, as friend groups have long since been established. The dominant clique revolves around Jake (Kayo Martin), a confident yet cruel leader whose group's behavior defines the social environment. Meanwhile, Eli (Kenny Rasmussen) stands as the clear pariah — a smart but socially awkward boy, interested in magic tricks and musicals like "Les Miserables," sporting acne and a rash that fuel rumors among the campers. Jake and his cronies label Eli as possessing "the plague," an image ominously underscored by Jake’s ominous remark to Ben: "No cure for him."
Throughout "The Plague," Polinger, who also penned the screenplay, exhibits a deft understanding of adolescent social mechanics and the underreported psychological battles that take place beneath seemingly mundane surfaces. Although the film doesn’t tread new thematic territory, familiar with established tropes of childhood alienation, it distinguishes itself by crafting a moody and immersive atmosphere that brings adolescent conflict and vulnerability into sharp focus.
The choice of setting—a water polo camp—provides a fresh stage for this coming-of-age narrative. Utilizing 35mm film, cinematographer Steven Breckon captures the duality of the campers’ experience, portraying the underwater environment as a realm where survival is literally immersive. The characters face a stark reality of adaptation — a metaphorical sink-or-swim passage into a world without support underfoot.
Joel Edgerton, also serving as producer, performs as the team's coach, whose inquiry about what defines water polo prompts Ben’s tentative response: "Working together as one big family, or whatever." However, the actual atmosphere is anything but cooperative. The social environment these boys inhabit is raw and predatory, with leadership exercised through social domination rather than support. Adults, including parents, are conspicuously distant, leaving the children to govern their own society in a manner reminiscent of a juvenile dystopia.
This sense of detachment culminates in a poignant sequence where the boys clandestinely gather at an abandoned structure to ignite a bonfire and indulge their rebellious impulses. Unexpectedly, Eli, typically excluded, joins this nocturnal episode, showcasing an uninhibited moment of joy as he twirls and dances alone. Ben’s internal conflict becomes evident here: despite his sympathy for Eli, he is constrained by his own need for acceptance, causing him to strike Eli, then feign cleansing himself of the supposed "plague," symbolizing his struggle with peer pressure and belonging.
Jake, the principal antagonist, embodies classic bullying traits with a subtle psychological edge. His power stems not from physical dominance, but from his ability to exploit weaknesses and isolate targets with cutting social tactics, leaving victims vulnerable to prolonged emotional harm.
As tensions escalate beneath the surface, the film suggests that violence is an impending possibility, though pain primarily manifests inwardly. The tragedy deepens when Eli himself begins to accept the label of "the plague" as an immutable affliction. Ben’s own skin begins to reflect similar blemishes, highlighting the contagious nature of fear and ostracism in childhood.
"The Plague" is unflinching and challenging, designed to leave a lasting impact rather than provide comfort. Its semi-autobiographical roots imbue it with authenticity and emotional weight. While the story chronicles a childhood fraught with hardship, it is deliberately intended for mature audiences, evoking gratitude among adults for having transcended those precarious years, while fostering empathy for young individuals enduring them. The film is distributed by the Independent Film Company and carries an R rating for language, sexual content, self-harm imagery, and substance use involving minors. With a runtime of 93 minutes, it earns a commendable three-star rating out of four.