The Plague Review: Cannes Film is An Anxiety-Filled Nightmare of The Social Hierarchy of Young Boys

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These young boys, twelve and thirteen years old, are all awkward limbs and energy, growing so quickly they haven’t quite learned how to control their bodies. They move like a group of wild animals, showing off and trying to act tough, even bragging about things they haven’t actually done. In Charlie Pollinger’s unsettling first film, they seem more animalistic than human. The film is carefully crafted, with a gritty and intense atmosphere, and powerfully shows how the pressures of becoming a man can lead to a rejection of anything different. While it’s a well-made film, it’s intentionally disturbing and may not be enjoyable for everyone.

Pollinger’s film takes place in 2003, a time of heightened prejudice against gay people and Muslims. While the film doesn’t directly address these issues, a sense of distrust runs throughout. A strong paranoia is present in every scene. However, while it touches on themes like racism, sexism, and fear of foreigners, it doesn’t explore them in great depth. Despite being engaging and tense, The Plague ultimately feels somewhat superficial.

The film powerfully shows how cycles of violence persist when true courage is missing. Ben (Everett Blunck) is easily influenced and susceptible to becoming a bully; he’s new to the Tom Lerner Water Polo Camp because of his mother’s affair, and he’s not quite as mature as the other boys. This is the second summer that Coach Wags (Joel Edgerton) is in charge, but he appears weak and unable to provide the support Ben needs, despite promising to do so.

The film’s cinematographer, Steven Breckon, deliberately creates a cold and unsettling atmosphere in the brightly lit, chlorine-scented school gym. He focuses on details like the pool’s reflections, stark shadows, and the way sweat mixes with water, making everything feel disturbingly real. In fact, Breckon’s visual style contributes to the film’s overall sense of awkward, pre-teen anxiety. The movie often feels like what might happen if Ari Aster directed Diary of a Wimpy Kid—and that’s not necessarily a good thing.

Ben, new and unsure of himself, desperately tries to become friends with Jake and his group (Kayo Martin). Jake, who leads the group and often starts trouble to feel powerful, quickly targets Ben. Early in the movie, Jake mocks Ben’s Massachusetts accent, specifically how he pronounces the letter “t.” Jake misinterprets Ben saying “stop” as a stutter and cruelly nicknames him “Stoppy.” Ironically, Ben, despite being an easy target, ends up being the group’s quiet voice of reason.

The film’s central ‘plague’ isn’t just a physical rash afflicting a camper named Eli—it also represents the way harmful behaviors like bullying and prejudice spread quickly, especially when people prioritize being popular. Writer-director Pollinger is a bit too obvious in highlighting these themes. The film relies heavily on symbolism—from the title itself to a character’s nickname, and even the rough play common in water polo—which risks feeling heavy-handed. We quickly learn that the main character, Ben, is struggling, both literally—he’s a swimmer who seems to be constantly fighting to stay afloat—and figuratively.

The film’s score, by Johan Lenox, is unpleasant and constantly reminds you what you’re watching with its blend of organ sounds and operatic style. The director, Pollinger, is taking a risk with the complex and volatile characters. While the young actors deliver surprisingly strong performances – Kayo Martin is particularly chilling as a casually sociopathic character, despite Blunck receiving a Critics Choice nomination – it’s difficult to feel any connection to or sympathy for them.

The others avoid Eli as if he has a highly contagious disease, quickly moving away whenever he approaches. This belief, mostly started by Jake, is that Eli has leprosy and can spread it with even a light touch. It’s odd that none of the kids, until Ben shows up, have bothered to question whether this is actually true. But it’s not just his skin condition that makes them treat him like an outcast; Eli is also very different and doesn’t follow the crowd. He often dances in a spontaneous and unusual way, reminiscent of the characters Elphaba and Glinda from the musical Wicked.

Throughout the movie, Ben struggles between feeling sorry for Eli and wanting to fit in with the popular crowd. This leads him to abandon his own values in pursuit of acceptance. Things take a turn for the worse for Eli when he’s publicly shamed for a natural reaction while watching the girls swim. Though Ben eventually chooses to befriend him, it comes with a price: both boys become outcasts and face even more bullying within the school’s poorly monitored environment.

The film The Plague is memorable for its cast of non-actors, but its message gets lost in overly dramatic performances. While one character encourages authenticity (though admits it’s a common trope), the film’s argument that fear is the sole cause of exclusion feels weak given its own moments of sharp insight. The movie hints at important ideas but avoids directly addressing them, leaving the viewer with a feeling of unease rather than clear understanding.

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2025-12-18 16:12