There’s so much to admire about Charlie Polinger’s gripping directorial debut, “The Plague”. It may also be one of the toughest films you watch due to its uncomfortably honest treatment of its serious subject matter – preteen bullying. This psychological drama pulls no punches in its depiction of cruelty masked as horseplay. And it doesn’t shun from showing the consequences. It can be bleak, but urgent and enlightening as well.

Polinger writes and directs the film which takes place in the summer of 2003 at the Tom Lerner Water Polo Camp for Boys. Ben (Everett Blunck) is a sensitive twelve-year-old who recently moved to the area from Boston. Ben’s home life isn’t the best, which is why he doesn’t mind going away to summer camp. But not knowing anyone has its challenges, especially for the anxious and awkward Ben. He finds support with his coach (Joel Edgerton), but fitting in with the other boys proves difficult.

Among the many compelling elements to Polinger’s story is his recognition of social structures, even among preteens. Here it’s a tight-knit group of six boys, who by shallow external measures might be considered the “cool kids”. Ben desperately wants to join their ranks, even enduring mockery from the pack’s alpha, Jake (Kayo Martin) in order to be accepted into their circle.

But deep down, Ben is a good kid, which is why he’s alarmed when witnessing some of the group’s antics. They’re openly loud and rowdy. But Ben learns they’re also crude and vulgar. Much worse is their cruelty which is seen most in their targeting of Eli (Kenny Rasmussen), an eccentric and introverted outcast. Jake claims Eli is the carrier of a highly contagious “plague” which the group uses to mock and ostracize him. As for Ben, his desire to win the group’s approval ends up blinding him to his own complicity.

Yet Ben’s conscience weighs on him which keeps him from being as cold and callous as the others. But his internal conflict seeps through to the surface after he dares to show compassion to Eli, even befriending him when no one else is looking. It immediately puts him in Jake’s crosshairs. Suddenly the group Ben desperately wanted to join has made him their prime target. It all makes for a heartbreaking chain of events that moves towards a finish that is as inevitable as it is troubling.

Polinger’s stylish and confident direction is helped by some truly standout performances from the mostly young cast. Blunck and Martin are especially strong, with each being fully convincing in dramatically different roles. Blunck conveys as much through observations as interactions, expressing Ben’s insecurities and anxiety despite his character working hard to conceal them. It can be a quietly devastating performance, but not without nuance. Martin is surprisingly sinister, hiding his ruthlessness behind a seemingly harmless smirk and curly mop of blonde hair. He’s both infuriating and terrifying.

As the film plays its hand, any obviousness is discarded in the final act. What begins as a unique spin on the coming-of-age formula turns darker, using dashes of shock and body horror to make us squirm. But Polinger never loses his grip on the material. And the final shot offers a ray of hope, depending on your interpretation. DP Steven Breckon shines, especially with his otherworldly underwater photography, while Johan Lenox’s score offers an unnerving mix of experimental and orchestral.

“The Plague” can feel a bit too broad at times, both with its handling of certain characters and anything resembling their motivations. It will also leave you with a handful of questions, none bigger than wondering where is the adult supervision? It can also be tough distinguishing between the real and metaphorical. But Polinger shows himself to have a remarkable vision, using the various arms of cinema to open our senses to a profoundly serious topic. Overall, “The Plague” is a remarkable and significant big screen debut.

VERDICT – 4 STARS