By Paul Salfen, Christine Thompson for AMFM Magazine
In the world of independent cinema, few debuts splash as boldly as The Plague, the gripping coming-of-age thriller from first-time feature director Charlie Polinger. Set against the backdrop of a boys’ water polo summer camp, the film explores the dark undercurrents of adolescent bullying, social conformity, and self-discovery. Teaming up with cinematographer Steven Breckon, Polinger crafts a visually stunning narrative that’s equal parts visceral and vulnerable. AMFM Magazine caught up with the duo to discuss the film’s origins, the chaos of filming with a pack of preteens, and what’s bubbling up next in their creative pipeline.
From the outset, The Plague has been turning heads with its striking visuals, particularly the underwater sequences that capture the film’s tense, almost otherworldly atmosphere. Breckon, whose cinematography has drawn rave reviews, attributes the film’s aesthetic punch to meticulous planning. “People are really responding to the cinematography,” he says. “Charlie and I were in the pool during pre-production with an iPhone, mapping things out. It took a lot of coordination for the stunt work.” The cast’s water polo scenes were no small feat—half the boys were American newcomers learning the sport just a week before shooting, while the other half were Romanian pros seamlessly integrated into the camp’s gritty world.
Casting this ensemble of young actors was a global hunt, led by casting director Rebecca Deeley. “We saw thousands of tapes,” Polinger recalls. “Kids from Europe, the UK, the US, Canada—everywhere. From Instagram discoveries to school play veterans, we narrowed it down through chemistry reads until we had this perfect group.” Working with the young cast proved to be a highlight, transforming the set into a makeshift summer camp. “It was very fun,” Breckon adds. “They bonded in a real way, with inside jokes and pranks—like moving our marks around. They’d troll us because film sets are slower than they are.”
Polinger draws from personal history for the film’s core concept: a cruel camp game called “the plague,” where one boy is ostracized, and the “infection” spreads through touch. Rediscovering his own journals from age 12 sparked the idea. “It wasn’t exactly the story—it’s fictional—but there was this game where we ostracized one boy, and everyone took the rules seriously despite thinking it was dumb,” he explains. “Looking at old photos and jokes jogged my memory.” Breckon echoes the universality: “It’s ripped from Charlie’s journals, but it’s such a common experience. Questions like, ‘How much of myself do I have to give up to fit in?’ or ‘If enough people say something’s real, does that make it real?’ These are accessible through the kids’ vulnerability.”
The film’s genre sparks debate—is it horror? Polinger leans toward “psycho thriller,” while Breckon argues it qualifies under a broader definition: “If it’s a subjective experience with a protagonist in peril, leading to a cathartic, visceral ride for the audience, then yes. Feeling like a socially anxious 12-year-old again is horrifying.” Ultimately, they agree it’s a hybrid: drama, thriller, and coming-of-age rolled into one.
For aspiring storytellers, the pair offers grounded wisdom. “Just keep going,” Breckon advises. “Don’t stop being a filmmaker.” Polinger emphasizes output and community: “Make stuff constantly, even on no budget. Every project teaches you something and helps you meet collaborators. Find friends who are also artists—it’s encouraging when things feel pessimistic.” Controversially, Breckon champions film school: “We met there, grew a lot, and it’s a fast track to finding your community and voice.”
Their “Hail Mary” moments underscore the risks of indie filmmaking. For Breckon, it was juggling the film’s final prep week with his daughter’s birth—17 hours and two flights away in Romania. Polinger’s was writing the script knowing it was an uphill battle: “It wasn’t high-concept or star-driven. As a first-timer, it was likely to never get made, but I wanted to do it anyway.” A pivotal boost came from actor Joel Edgerton, whose involvement opened doors after years of uncertainty.
As The Plague resonates with audiences, Polinger and Breckon hope it fosters connection. “People should take away that they’re not alone,” Breckon says. “It’s a phase, leading to self-acceptance.” Polinger adds: “We’re all compromising to fit in, feeling gaslit by life. If the film helps you feel seen, that’s the goal.”
Looking ahead, the duo is already in pre-production on their next venture—a dark comedy involving a medieval plague, starring Mikey Madison (Anora). “It’s a bonkers roller coaster ride,” Polinger teases. Shooting begins in February with A24 and Picturestart. From the depths of adolescent angst to historical mayhem, Polinger and Breckon are proving they’re filmmakers to watch.
The Plague is now playing in select theaters. Catch it for a dive into the horrors—and heart—of growing up.
