Charlie Polinger plague With a fascinating sequence, it quickly builds the troublesome background of this teen psychological thriller. Ambient, the sound of the low width of water is set on the lens at the bottom of the pool. Swimmers fell into large indoor basins one by one. Their legs are clumsy when they try to sync. It was 2003 and these were middle school attendees at Tom Lerner Water Polo Camp. From this perspective, Polinger and his photographer Steven Breckon make these kids look like fantasy characters.
A creepy unrealistic experience plaguewhich premiered in Cannes on a certain sidebar. Polinger also works from scripts he wrote, using horror rituals to tease the psychological horror and intimidation of prepuberty social regulations. In the new era of issues concerning Manosphere and considering problems, plague It is the foresight title. Polinger's movies aren't as dark as Netflix's pop miniseries pubertybut it does have equally disturbing themes – for example, the terminology and purpose of masculinity are determined by arbitrary rules or the cost of unqualified among young people.
Bottom line An unforgettable childhood story.
Place: Cannes Film Festival (must watch)
Throw: Joel Edgerton, Everett Blunck, Kayo Martin, Kenny Rasmussen
Director Screen Author: Charlie Pollinger
1 hour 38 minutes
Key performances carry around plague And relieve the pressure in the direction of occasional fatigue. Relatively new to Everett Blunck (Excellent Griffin in summer) and Kayo Martin are opposite young anxiety, with sincerity and horror accuracy. Martin's judgmental expression seems to be for the role of Jake, the resident cool kid whose keen attention to detail is weaponized. The actor performed well against Blunck, who portrayed Ben’s new camper, trying to figure out his place in various groups. Anxious sound design (by Damian Volpe) and scores (by Johan Lenox), combined with a proper icy visual palette, builds gray and blue, which helps tell the tempting story of Polinger's nails.
When Ben (Blunck) arrives at the water polo camp, he quickly notices Jack (Martin) possession of the other boys. The teenager with blond hair was the leader of the ring and, in his approval, Ben became part of the crew. The other boys were called Ben, who had just moved out of Boston, because he spelled a "t" in the word "stop." What Pollinger made clear early on was how close Jack's careful scrutiny of the other boys was, noting the secondary characteristics of their distinctions—and using these observations to mock them. This skill puts Jack in power, making him a formidable person for everyone, including the boy’s coach, Daddy Wags (Joel Edgerton, a short and effective turn).
Ben looked at the others, and he quickly answered that no one was hanging out with Ellie (Kenny Rasmussen, too). Most of the quiet children stay on themselves, having lunch in the locker room and occasionally sleeping there. According to other children, Eli suffers from a plague, which is said to be an ambiguous disease that allegedly starts with a rash and prevents the infected from playing a role socially. Jack warns Ben to stay away from Eli and wash his body if he accidentally gets too close. Smart moves, Pollinger could never be sure that the plague was real, because even if it wasn't real, it would be afraid of sowing.
The rest plague He follows Ben as he tries to reconcile social acceptance with his own code of morality. He knew that people should not be exiled for disagreement, but the idea of losing their place in the hierarchy made him wake up at night. Blunck cleverly portrays Ben's inner turmoil and the anxiety that arises from his journey.
Polinger deploys jumping panic, intimate close-ups (especially Jake and Ben stare at each other) and elements of body horror to reshape these adult dilemmas into high-risk, nightmarish challenges. When the director expanded the scope, he investigated a wider social behavior, plague Taking the original urgency, the film has the fanatical energy of William Golding King of Flies Or Claire Denis Great job. In one of the scenes, Pollinger observes the boys at lunch, talking to each other excitedly and laughing. The camera cuts ominously between the view of the group and the faces of individual campers (edited by Henry Hayes). In most cases, they are kids who have good time for the kids, but if you look closely you will see panic in a cheerful look.