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Cruelty spreads like The Plague in thrilling adolescent drama

The peer pressure between a boys' water polo camp comes to a head in the debut from writer-director Charlie Polinger.

Cruelty spreads like The Plague in thrilling adolescent drama

Few films are downright mean enough to capture the reality of being a kid. Being young isn’t just contained in the amber memories of wonder, or expectation, or freedom. It’s also defined by all the abuse doled out by your peers, the bullies and bastards pressuring and cajoling and probing for weaknesses. For every beautiful thing observed and incorporated into a child’s life, something nasty and predatory slips through from the world of adults. It’s this that makes writer-director Charlie Polinger’s The Plague into a sharp yet hard-to-watch debut. Shrinking down the masculine hardships, bottled-up pain, and explosive release of Claire Denis’ Beau Travail to better fit a group of preteen water polo players, Polinger’s film ostensibly got made thanks to the help of producer-actor Joel Edgerton. But it’s the young cast, filled with up-and-comers like Everett Blunck (who also starred in last year’s festival film Griffin In Summer), who make this anxiety-inducing look at pubescent social structures so thrilling—and so brutal.

The Plague is explained to us through the eyes of Tom Lerner Water Polo Camp newcomer Ben (Blunck). It’s 2003 and little white boys with bleach-blond hair are saying “Okayyy” like Lil Jon. But even if the film is set two decades ago, the painful bonafides of its clique haven’t aged a day. Pick a year, and you’ll find the ridiculous piece of pop culture being repeated as loudly as possible for laughs, to prove some sort of worth to the group. As Ben figures out where he’ll sit for lunch in the cafeteria and how he’ll avoid getting himself stuck with an embarrassing nickname after a single conversation with the cool crowd, he finds that he’s already of a higher status than he thought. Even being the newest arrival doesn’t make him a member of the lowest caste at camp. That dishonor belongs to Eli (Kenny Rasmussen), who all the other kids refer to as “The Plague” due to a pimply rash on his face and back. Don’t talk to him, don’t go near him, and definitely don’t touch him.

Of course, the breakout is just an excuse to pounce upon Eli, who’s just an uncool little weirdo uncomfortable in his own skin. He hides inside a long-sleeve shirt at all hours, wet or dry, spending his ostracized time perfecting sleight-of-hand tricks and trotting out his best Gollum impression (again, the film is set in 2003). He’s not a leper, but he might as well be thanks to The Plague‘s insightful understanding of how kids sniff out, then target, vulnerabilities. Riled up by their leader Jake (Kayo Martin, perfectly blonde, sneering, and cruel), the ensemble of teammates bully mostly by omission, but as these kinds of thrillers go, The Plague escalates—and as the campers spiral out of control, their oppression doesn’t stop with Eli. 

As the film dives into body horror’s sensory deep end—cinematographer Steven Breckon’s enticing slo-mo underwater photography and face-framing close-ups somewhat undermined by Johan Lenox’s relentless score—The Plague quickly hits the bottom of its shallow characters. Ben might show a bit more compassion towards Eli than his peers, but he and the group at large operate more effectively as a swarm. More compelling is the setting, both the constant state of active endurance one must be in at a camp like this (akin to kicking your legs to avoid going under) and its evocation of a specific age. It’s what’s not spoken aloud that’s strongest here, in the panicked and desperate need to conform to a group—a desire equally driven by ego and a survival instinct.

That sensation permeates the film; when stewing in that hellish cocktail of hormones, the images seep into your skin like its ultra-direct speeches (especially from Edgerton, who plays their preachy coach Daddy Wags) simply can’t. But aside from these shallow moments of over-explanation and a kinetic ending that lifts whole cloth from the aforementioned Beau Travail, this exciting debut boasts some honest and cutting commentary around these angry, confused little boys.

Director: Charlie Polinger
Writer: Charlie Polinger
Starring: Everett Blunck, Kayo Martin, Kenny Rasmussen, Joel Edgerton
Release Date: December 24, 2025

 
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