Latest news with #Polinger
Yahoo
20-05-2025
- Entertainment
- Yahoo
‘The Plague' Review: Joel Edgerton in a Thrilling Drama That Captures the Terror of Adolescent Masculinity
Charlie Polinger opens his thrilling and uneasy directorial debut feature The Plague with an arresting sequence that quickly establishes the haunting undertones of this adolescent psychological thriller. The ambient, muffled sound of sloshing water is set against a shot of the bottom of a pool. One by one, swimmers drop into the massive indoor basin. Their spindly legs move awkwardly as they try to get in sync. It's 2003, and these are the middle-school-aged attendees of the Tom Lerner Water Polo camp. From this angle, Polinger and his cinematographer Steven Breckon make these kids look like phantasmic figures. An eerie sense of unreality runs through The Plague, which premiered at Cannes in the Un Certain Regard sidebar. Working from a screenplay he also wrote, Polinger uses horror conventions to tease out the psychic terror and intimidation of pre-teen social codes. In the age of renewed questions about and considerations of the manosphere, The Plague is a prescient title. Polinger's film is not as dark as Netflix's popular miniseries Adolescence, but it does circle similarly unsettling themes — like the way the terms and tenets of masculinity are dictated by arbitrary rules, or the cost of nonconformity among young men. More from The Hollywood Reporter Cannes: 'Militantropos' Directors on Identity and the Limits of Art: "The War Has Become Part of Us" Cannes: Salty Pictures Sets Martial Arts Drama '8 Limbed Dragon,' Starring UFC Fighter Jingliang Li (Exclusive) Ethan Coen, Wife and Writing Partner Tricia Cooke on Lesbian B-Movies, Trump, Re-Teaming With Joel Key performances carry The Plague and alleviate the occasional strain of overwrought direction. Relative newcomers Everett Blunck (stellar in Griffin in the Summer) and Kayo Martin portray opposite ends of youthful angst with an engaging sincerity and terrifying accuracy. Martin, with the subtlety of his judging expressions, seems especially made for his role as Jake, the resident cool kid who weaponizes his sharp attention to detail. The actor plays well against Blunck, who portrays Ben, a new camper trying to figure out where he fits among the various cliques. An anxiety-inducing sound design (by Damian Volpe) and score (by Johan Lenox), coupled with an appropriately icy visual palette built on grays and blue, help tell Polinger's nail-biting story. When Ben (Blunck) arrives at the water polo camp, he quickly notices the hold that Jake (Martin) has on the other boys. The teen with the mess of blonde hair functions as a ring leader and, with his approval, Ben becomes part of the crew. The other boys call Ben, who just moved from Boston, 'Soppy' on account of the fact that he garbles the 't' in the word 'stop.' One thing Polinger makes clear early on is how closely Jake scrutinizes the other boys — noticing minor characteristics that differentiate them from one another — and uses those observations to mock them. This skill keeps Jake in power, making him an intimidating person to everyone, including the boys' coach Daddy Wags (Joel Edgerton, in a brief but effective turn). Ben watches the others too, and he quickly picks up that no one hangs out with Eli (Kenny Rasmussen, also excellent). The quiet child keeps mostly to himself, eating lunch in the locker room and occasionally sleeping there too. According to the other kids, Eli has the plague, a vague disease that allegedly begins with a rash and renders the infected unable to socially function. Jake warns Ben to stay away from Eli and to wash his body should he accidentally get too close. In a clever move, Polinger never establishes if the plague is real because even if it isn't, the fear it sows is. The remainder of The Plague follows Ben as he tries to reconcile social acceptance with his own moral code. He understands that people shouldn't be exiled for their differences and yet the idea of losing his place within the hierarchy keeps him up at night. Blunck deftly portrays Ben's inner turmoil and the anxiety his journey produces. Polinger deploys jump scares, intimate close-ups (especially of Jake and Ben staring at one another) and elements of body horror to recast these coming-of-age dilemmas as high-stakes, nightmarish challenges. When the director widens his scope, to survey the broader social behaviors on display, The Plague adopts a primal urgency and the film possesses the feverish energy of William Golding's Lord of the Flies or Claire Denis' Beau Travail. In one of those scenes Polinger observes the boys during lunch, excitedly speaking over each other and laughing. The camera ominously cuts (editing is by Henry Hayes and Simon Njoo) between views of the group and the faces of individual campers. For the most part, they are children having a good time, but if you look closely you can see a flash of panic beneath the cheerful visages. Best of The Hollywood Reporter 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV The 10 Best Baseball Movies of All Time, Ranked
Yahoo
20-05-2025
- Entertainment
- Yahoo
How ‘The Plague' Director Charlie Polinger Used the Horror Genre to Capture the ‘Chaos and Anxiety' of Male Adolescence
'The Plague' filmmaker Charlie Polinger simply wanted to make a film that actually reflected his adolescent experiences. 'I see a lot of movies about 12 year old boys that are often either a little more 'Goonies'-style biking around at night [that are about] this kind of carefree feeling or a little more bro-y hangout kind of movies. My sense of being 12 was it was more like [a] social anxiety hellscape,' Polinger told Executive Awards Editor Steve Pond at TheWrap's Cannes Conversations in partnership with Brand Innovators. 'You see that [represented] more commonly, I think, in movies about women or about young girls, [movies] like 'Carrie' and 'Raw' and 'Eighth Grade.' You don't see it as often in films about boys because there's a certain vulnerability to [being] the object of terror or to [feel] insecurity in your body. There's sort of a fear of that vulnerability being shown [when it is] centered around masculinity,' Polinger observed. 'I thought it could be exciting to kind of take a genre that I've seen more with women and apply it to a story about boyhood.' The resulting film, 'The Plague,' marks Polinger's feature directorial debut. It follows Ben (Everett Blunck), a young boy at a water polo summer camp for boys headed by an adult male instructor (Joel Edgerton). Ben quickly finds himself torn between his fear of being ostracized and his conscience when the camp's other boys begin to bully Eli (Kenny Rasmussen), a fellow campmate whose skin condition prompts his bullies to declare that he has 'the plague' and run screaming loudly in the other direction whenever he comes near. 'I'm actually a very bad swimmer,' Polinger revealed with a laugh when asked how he conceived the film's story. 'It came from experiences I had going to some all-boys summer camps, and my experiences at those and my experiences being that age in school and in general — and wanting to tell a story that felt like it really immersed the audience in the subjective experience of being a 12-year-old boy and all of the sort of chaos and anxiety that comes with that.' Polinger wrote the film while he was staying at his parents' house during the COVID-19 pandemic, but it was not until Edgerton agreed to star in it years later that Polinger was finally able to put 'The Plague' together. 'I think at first [Joel] was actually inquiring about directing it, and I was like, 'I really have to do this one,'' Polinger recalled. 'He was [then] generous enough to offer to act in it and help produce it, just to help get it made. That was really the thing that took us over the edge and [helped us find] the financing.' While Polinger notes that 'The Plague' is not a 'traditional horror film,' the thing that always excited him about the project was the chance it would give him to immerse viewers in its young protagonist's perspective — where things that adult viewers might not think are a big deal feel like they have 'like and death stakes.' 'That's where the genre stuff came from,' Polinger said, before revealing that he even looked at war films for reference. 'Every single glance and every whisper feels dangerous,' the director explained. 'I really was just trying to think about how Ben, the protagonist, would feel in any given moment, and [I tried to] find ways to cinematically evoke his interior state through the external world.' Watch the full video below. The post How 'The Plague' Director Charlie Polinger Used the Horror Genre to Capture the 'Chaos and Anxiety' of Male Adolescence | Video appeared first on TheWrap.
CairoScene
20-05-2025
- Entertainment
- CairoScene
‘The Plague' Is a Coming-of-Age Body Horror That Hits Hard
'The Plague' Is a Coming-of-Age Body Horror That Hits Hard We're inside the pool, looking up. Everything is still. A body plunges in. It shatters the calm. Bubbles explode like fireworks. Another splash follows, then another. Heads dip under and rise again. Legs kick furiously, desperate and uncoordinated. The kids kick their feet to stay above the water. Their movements aren't graceful. It's pure survival. Each kick is a plea to stay above, to breathe. We quickly realise they're kids in a water polo practice who have been tossed into the deep end of the pool. Twelve is the age when life stops being still. It's when the calm ends and the struggle begins. It's hard to believe 'The Plague' is Charlie Polinger's first feature film. His direction is remarkably confident, distinct, and entirely his own. The film premiered in Un Certain Regard to rapturous applause, and I'm sure it will go down as one of the most promising debuts of the year. A chilling descent into the horrors of bullying, 'The Plague' captures the suffocating dread of being young, isolated, and targeted by other peers. It's one of the most effective horror films on the subject ever made. And yes, that includes Brian DePalma's Carrie. This is no light compliment. 'I wanted to explore the violence and vulnerability of boyhood in a way I hadn't seen on screen. Many coming-of-age films, particularly about boys, tend to be comedic or nostalgic, but for me, being 12 felt more like a living hell of social anxiety,' Polinger tells CairoScene. In the film, this anxiety stems mostly from the fear of getting acne. Only the kids in this water polo team refer to it as 'the plague'. It's something we've all felt at that age. That feeling when you wake up and go straight to the mirror. You're afraid of what you'll see. Your fingers already reaching for skin that might betray you. And then you spot it. A red bump forming on your forehead, cheek, or chin. You feel that slow panic build up. The way your confidence vanishes in seconds. The walk to class feels longer. Every glance feels like judgment. You keep your head down, avoid eye contact, and pray no one notices. It's not just about skin. It's about shame, exposure, and the unbearable feeling that everyone's looking. Even when they're not. Polinger shoots this very specific stage of puberty like a body horror film, and it works brilliantly. It's one of those ideas that feels so obvious in retrospect, you wonder why no one's done it before. Even if this ground has been explored, it's never been shot quite like this. The cinematography is incredibly stylised, and the score is deeply unsettling. Together, they turn adolescence into something monstrous. The film focuses on Ben, a quiet and observant newcomer who becomes the target of increasing cruelty and humiliation from his peers. At the centre of their fixation is 'the plague,' a slang term they use to describe acne. It's treated like a contagious curse. What begins as teasing escalates into ritualistic torment. The kids unite against whoever shows signs of the infection. The story explores how fear, shame, and group dynamics contribute to the brutal enforcement of conformity. With haunting visuals and a disturbing sound design, 'The Plague' captures the suffocating anxiety of being young, vulnerable, and different. The coach, played by Joel Edgerton, is a steady presence on the sidelines. He's there to keep things in order. When he suspects bullying, he confronts Ben and tells him that this, like everything in life, will eventually pass. But kids don't have the patience to wait. When they're being bullied, time doesn't move forward. It slows down. Every second stretches. What adults call 'a phase' feels, in the moment, like forever. The cast of child actors is incredible, especially Everett Blunck in the lead role and Kayo Martin as Jake, the ringleader of the bullies. Jake has a way of spotting the tiniest flaw. You see a smirk creep across his face. He's like a lion who's just spotted a wounded prey. The moment he realises Ben has a lisp, he locks onto it. Calls it out, mocks him, and turns it into a nickname that sticks like a scar. The film also explores how you can find yourself on both sides of the line, bullied or bully. And when you do it just to fit in, being the bully can feel frustrating and painful. There's a particular kind of ache that comes from betraying your own sense of right and wrong just to avoid becoming a target yourself. It's the slow burn of shame. The quiet guilt that lingers long after the laughter fades. It's not the pain of being hurt. It's the pain of hurting someone else. The film doesn't let you look away from that. It shows you the ugly side of both ends and makes you sit with it. Just when you think you know where the film is headed, it surprises you. The ending, in particular, stayed with me. It's cathartic in a way that sneaks up on you. It felt raw, emotional, and beautifully earned. A big part of that impact comes from its killer soundtrack, which features a perfectly placed Moby track that elevates the final moments into something unforgettable.
