‘The Plague’ Review: Joel Edgerton in a Thrilling Drama That Captures the Terror of Adolescent Masculinity

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Charlie Polinger kicks off his suspenseful and unsettling directorial premiere, The Plague, with a captivating scene that swiftly instills the eerie atmosphere of this teenage psychological thriller. The faint, damp sound of water splashing echoes as a shot of the pool’s floor is displayed. One after another, campers dive into the large indoor swimming pool. Their gangly limbs move uneasily as they struggle to coordinate. It’s 2003, and these are the adolescent participants of the Tom Lerner Water Polo camp. From this vantage point, Polinger and his cameraman Steven Breckon make these youngsters appear as spectral figures.

As I delved into “The Plague,” premiered at Cannes under Un Certain Regard, a chilling feeling of unrealness washed over me. This film, scripted and directed by Polinger, skillfully employs horror tropes to explore the psychological terror and oppression that pre-teen social norms can impose. In today’s era where societal expectations about masculinity are under scrutiny once more, “The Plague” could not be more timely in its title.

While not as somber as the popular Netflix miniseries “Adolescence,” Polinger’s work does touch on similar unsettling themes. It circles around topics like how the definitions of masculinity are often shaped by unwritten rules, or the price paid for nonconformity among young men.

The performance of key scenes effectively balances the tension in “The Plague,” easing the occasional intensity of the direction. Emerging talents Everett Blunck (notably from “Griffin in the Summer“) and Kayo Martin deliver a convincing portrayal of youthful turmoil, capturing both sincerity and authenticity. Martin’s nuanced facial expressions, particularly suited for his character Jake, the popular kid who uses his keen observation as a weapon, stand out. His performance complements Blunck’s portrayal of Ben, a new camper struggling to find his place among different social groups. The unsettling sound design (by Damian Volpe) and music (by Johan Lenox), combined with a chilly visual aesthetic dominated by grays and blues, contribute significantly to the suspenseful narrative crafted by Polinger.

When Ben (Blunck) gets to the water polo training camp, he swiftly observes that Jake (Martin) wields significant influence over the other boys. The boy with the tangled blonde hair acts as a de facto leader and, once he gives his nod, Ben is accepted into their group. The other boys, who have recently welcomed Ben from Boston, give him the nickname “Soppy” because of his tendency to mix up the “t” sound in the word “stop.” Right from the start, Polinger emphasizes that Jake pays close attention to the other boys – spotting subtle differences between them – and uses these observations to tease them. This ability keeps Jake in control, making him a formidable figure even to the coach, Daddy Wags (Joel Edgerton), who delivers a memorable performance in his brief yet impactful role.

Ben observes the others as well, noticing that they all avoid spending time with Eli (Kenny Rasmussen, who’s equally impressive). This shy kid usually keeps to himself, often eating lunch in the locker room and even sleeping there on occasion. The other children claim Eli has a mysterious illness called the plague, which supposedly starts with a rash and makes the afflicted unable to interact socially. Jake advises Ben to keep his distance from Eli and clean himself if he unintentionally comes into contact. In a shrewd plot device, Polinger never confirms whether the plague is genuine; its existence as a fear-inducing tool is enough.

In the latter part of “The Plague”, we follow Ben as he grapples with finding harmony between societal approval and his personal ethics. He recognizes that people shouldn’t be ostracized for their uniqueness, but the fear of losing his standing within the social structure often troubles him deeply. Blunck skillfully illustrates Ben’s internal struggles and the unease his journey generates.

In his unique style, Director Polinger employs sudden shocks, intense close-ups (particularly focusing on Jake and Ben’s gazes locked onto each other), along with gruesome body horror scenes to transform adolescent predicaments into life-or-death, terrifying trials. When the lens broadens, capturing broader social behaviors, The Plague takes on a raw, primal intensity, mirroring the frenzied vitality of William Golding’s Lord of the Flies or Claire Denis’ Beau Travail. During one scene, Polinger scrutinizes the boys as they eat lunch, their voices rising above each other in laughter. The camera, edited by Henry Hayes, ominously shifts between group shots and individual campers’ faces. While predominantly portraying children enjoying themselves, a hint of fear is discernible beneath the joyful expressions.

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2025-05-16 13:54