The idea of adolescence as a horror story is not new, but it gives a great exercise in the elegant Charlie Pollerger feature that for the first time, as swimming pools, tank rooms and a bracket bedroom in the water polo camp for boys are small puberty dishes. By experimenting and benefiting from some prominent shows among its well -chosen crew, the “plague” has a familiar novel at the age of twenty, but the strange, and the excessive minute of creeping panic on men will become these children, in this formative age, the forced chlorolion in which they swim.
Sensitive, Ben (Evere Blonk) sensitive, comes to the Tom Lerner Water Polo camp in the summer of 2003 as a stranger twice. It not only joins after the start of the second session, but it is also a new arrival in the area. As we understand from an early conversation with his close but ineffective coach (Joel Edgerton, who also produces), there is a hesitant group: there is harm in the studied neutrality of his accent when he describes how his mother uprooted her life to be with her new lover. The exciting change of the father’s personality may distribute Ben’s anxiety, but perhaps this is what it is. When you make him an endless children’s game from Willy-Rather, he chooses between “Do not have sex with a dog but make everyone think that you did, or a ridiculous dog and no one knows”, Ben chooses, well, the dog tightening.
In any wolf package, the alpha is clear and even among these cubs, Jake (Caio Martin’s wonderful) can easily be recognized as a resonance leader. She was deceived by the trauma of Tousling strawberry hair, and wearing a very surprising expression of skeptical throat, Jake is initially friendly enough for the newcomer – at least as soon as Ben started responding to the title “Soppy”, after Jake took a very small speech.
There is an easier goal for Jake’s lazy mockery but careful. Elie (Kenny Rasmussen) was already assumed that a strange game-in magic tricks, individual dance movements, and non-sequential conversation-even before he developed a distorted skin complaint. The angry rash that covers its arms and its stem is likely to be a kind of eczema or dermatitis, but the boys are still from an era fascinated by leprosy and tamamam, and thus Jake declares the “plague”. Elie is to be rejected, to the extent that all children divert for another cafeteria table if he pulled a chair.
Bin Al-Latifa, in the midst of uncertainty that from the outside it is wonderfully influencing, if it will disappear within a year, a month or a minute, it is for Eli-maybe more than Elie’s strangely strange to himself. But because he barely has sufficient social capital to ensure that he is accepted in the circle of Jake, Bin befriended with caution, away from the eyes of the intruders. It is good to make excesses of taboos if no one knows this.
DP steven Breckon includes “plague” with the separators between the underwater photography, where the bodies of the children are confident in the pool and then the water goes, and it is similar to many unpaid marine horses. Sometimes, while Johan Linux’s excellent degree that reaches the seventies of the last century, it reaches a nightmare in the seventies of the last century, it reaches a vehicle in the synchronous swimming category that shares the swimming pool and releases the imagination of raw boys, so they seem to dance to the surface of the water on the surface. These symphonies under the waterwheel give a touch of fake to the center that has been created intelligently from the vulgar details that have been remembered about early childhood: it will make them Capri-Sones, composed by pop, that brief stage where children believe that Nutmeg the kitchen kitchen will get high.
Paulinger’s self -memory of the time was the dynamic of the group of peers was much more influential than any peripheral authority, and it represents the reason for these children often not restricted due to adult supervision. Jake, of course, benefits from this freedom to continue his terrorist era, one of which can preserve him without really raising a finger. Almost all violence in the “plague” is created self-created, and therefore it is easily activated by this brutal tyrant-a living figure that it is tempting to imagine a more provocative movie that is narrated from the perspective of the fatwa. But with the “plague” competing with a strange conclusion in the style of soldiers, it requires a somewhat expected shift towards a large moment of personal growth of personal growth. Slaves on the edge of an adult society with its thorough concepts about masculinity and matching, you can dive into it or can be paid, and only then you can learn if you will drown or swim.