Charlie Polinger Discusses Directing His Psychological Drama ‘The Plague’ and the Idea Behind the Chaos
Charlie Polinger’s Debut Film ‘The Plague’ Takes Shape from Childhood Memories
Los Angeles, CA – Filmmaker Charlie Polinger’s debut feature, The Plague, was inspired by a trip down memory lane prompted by his mother’s request to clear out his childhood bedroom after lockdown. Reflecting on this pivotal moment, Polinger shared, “I found these journals from a summer at an all-boys sports camp. I had written down all these little tiny details, things that felt so important to me.” This nostalgia ignited a creative spark, leading him to reach out to friends to exchange similar camp experiences, ultimately transforming personal recollections into a fictional narrative.
The film features newcomer Everett Blunck in the role of Ben, a middle-schooler navigating a water polo camp led by Coach Daddy Wags, portrayed by Joel Edgerton. Beneath the camp’s cheerful façade, Ben discovers a troubling hierarchy among the boys, exacerbated by the sinister Jake, played by Kayo Martin. When the group ostracizes Eli, another camper suffering from an embarrassing body rash—referenced in the film’s title—Ben’s efforts to show kindness backfire, putting him in conflict with the group’s dynamics.
Having premiered in the Un Certain Regard section at the Cannes Film Festival and set to release in the United States this week, The Plague has been hailed as one of the most imaginative genre films of the year, drawing comparisons to William Golding’s Lord of the Flies as interpreted by David Cronenberg. Polinger noted, “It came together pretty quickly in the script phase. I wrote the first draft in my childhood bedroom, which was pretty interesting and historic.”
Polinger discussed the challenges of launching a film with unknown young actors, revealing that many doubted the project’s feasibility without introducing established stars or altering its premise significantly. “I felt it had to be this exact version of it… things didn’t really start moving until the script got sent over to Joel Edgerton,” he explained. Edgerton’s personal connection to the story led him to become both a producer and a pivotal figure in making the film a reality.
The film was shot in Bucharest, Romania, where Polinger found an ideal location—a vast swimming pool—available for a week while the local Olympic team was away. “As soon as I walked in there, I remembered what it felt like to be 12 years old. It was overwhelming,” he described.
In casting, Polinger teamed up with Rebecca Dealy, known for her work on Hereditary, to find young actors who could embody the roles authentically. “I told her I didn’t want polished actors. They had to be 12- or 13-year-olds,” he said, emphasizing the importance of capturing the transitional stage of early adolescence.
Auditions produced thousands of tapes, with Polinger viewing each one carefully. Standouts included Kenny Rasmussen as Eli, who impressed from one of the first ten tapes, and Kayo Martin, unearthed through Instagram, whose dynamic presence resonated with the character of Jake. Polinger praised Everett Blunck for his ability to bring complexity to the role of Ben, crediting him with a depth typically seen in more experienced actors.
Managing a set populated with young actors required a nurturing approach. “We had a rehearsal period where they would work together,” Polinger said, adding that the collaborative atmosphere fostered rapport among the cast. “At the beginning and end of the day, we’d hug and say, ‘We’re all friends here.’”
Edgerton’s involvement extended beyond the script; he actively coached the boys during their water polo practices and created a supportive dynamic on set. Polinger noted the necessity of allowing the young actors to challenge Edgerton in their performances, fostering a natural tension that contributed to authentic interactions.
The film’s score, crafted by Polinger’s long-time friend Johan Lennox, significantly enhances its atmosphere. “He started sending me tracks at 3am… this sounds like the voice in your head, questioning yourself when you’re 12,” Polinger explained, highlighting the unconventional scoring process that added depth to the film’s exploration of boyhood.
Addressing the film’s horror elements, particularly concerning body image, Polinger acknowledged an intentional tie to psychological horror. “A great psychological horror film immerses you in a character’s subjective experience,” he articulated, drawing parallels to societal pressures that shape young boys as they navigate adolescence.
Looking ahead, Polinger revealed that his next project will be an adaptation of Edgar Allan Poe’s The Masque of the Red Death. While different in execution, he suggested thematic similarities linked to group dynamics in confined settings.
As The Plague prepares for its U.S. release, anticipation builds for Polinger’s unique storytelling and exploration of childhood complexities through the lens of genre filmmaking.
