Reviews
The Plague
As directorial debuts go, you would be hard pressed to find a more impressive one in recent years than Charlie Polinger’s The Plague, a psychological coming-of-age thriller. From the opening scene to the very last, Polinger immerses the audience in the all too familiar and painfully relatable world of adolescent social hierarchies, where being outside the inner circle means becoming an ostracised outcast and the unfortunate butt of every joke.
Set in the summer of 2003 at the Tom Lerner Water Polo Camp, the story primarily follows 12-year-old Ben (Everett Blunck), a newcomer and relative outsider. He joins the camp after it has already begun, albeit reluctantly, as we learn in an early conversation with the team coach (Joel Edgerton) why he has moved from Boston to the suburbs. Still processing the pain of the move and his parents’ recent break-up, Ben is desperate to fit in with the other kids and be part of the wider wolf pack, shown early on through his eager attempts to join their endless would-you-rather games.
As with any wolf pack there is always an alpha, and here it is Jake (Kayo Martin). We do not get much backstory for him, but we learn that his older brother is an elite water polo player, a detail that instantly makes Jake more impressive and the kind of kid everyone wants to be friends with. Jake is initially welcoming toward Ben, though only after he accepts the cruel nickname “Soppy,” given to him for a very minor speech impediment, a name that sticks for the rest of the film.
There is, of course, an easier target for Jake and his group to pick on. Enter Eli (Kenny Rasmussen), a boy who is clearly different from the others and shows autistic traits that are handled with care. Fascinated by magic tricks and spontaneous solo dance moves, Eli does not fit in with what the group considers “normal.” To make matters worse, he has developed an angry-looking rash that resembles eczema or dermatitis. The boys cruelly nickname it “the plague,” making Eli completely isolated and the constant target of their torment.
What follows is an all too familiar cautionary tale that draws the audience into the existential question of who Ben is going to become. When we see him with Eli, he is clearly a well-brought-up boy with kind intentions. He knows the plague is not real and that the bullying is wrong. But he also knows that if he stands by Eli, he risks becoming the next target. Can he face that kind of abuse on top of the challenges he already faces as the new kid in town? Through Polinger’s excellent direction and writing, we watch Ben wrestle with this dilemma in a way that is authentic and deeply absorbing.
Some may argue that the narrative choices feel repetitive at times, but to me, that is exactly the point. Bullying is an unfortunate everyday reality, and its repetitive nature is part of what makes it so damaging. The film reflects this truth, emphasizing its message in a deliberate and unapologetic way. It serves as a reminder that our words carry very real consequences and it never strays from that central idea. It’s clear in today’s world that this kind of toxic masculinity is rife and begins at a young age. It is all too commonly accepted without consequence, a reality the film captures with remarkable precision.
The performances from the young cast are exceptional. Kayo Martin is a stand out as the film’s main antagonist. In his first venture into acting after predominantly being a skateboarder, he shows real talent and clear potential to build a lasting future in the film industry. Everett Blunck in a leading role looks like a complete natural, and Joel Edgerton, though appearing in a smaller role than many might expect, delivers every line with conviction and authority. Yet it is Kenny Rasmussen who gives the film its most poignant moments. As a boy content in his own world, simply wanting to exist, he brings genuine emotion and depth to every scene, resulting in some of the most poignant sequences in the entire film.
The sound design throughout is hauntingly effective, sending shivers down your spine and amplifying the film’s unsettling atmosphere. It blends fantastically with the kinetic energy of the water polo sequences and the striking underwater cinematography, creating an experience that feels as immersive as it is disturbing. At times it feels as though the audience is drowning alongside the characters, overwhelmed by the sorrow and cruelty faced by the children on the receiving end of relentless bullying.
While the premise may not be entirely new, Polinger’s exploration of it feels deeply relatable and emotionally powerful for all the right reasons. If there is one lesson audiences take away from the many that The Plague offers, it is that being different is perfectly acceptable, and that humanity as a whole must learn to be more empathetic toward those who are seen as outsiders. One thing is certain though, I would not want to be that young again, and this film is a stark reminder of just how difficult it can be to grow up as an adolescent boy.
