Foreboding title aside, one could reasonably begin watching Charlie Polinger’s “The Plague” and assume that it is a Y.A. coming of age drama— a modern-day “The 400 Blows” or a male “Welcome to the Dollhouse” about a group of teenaged boys spending their summer at a sleepaway water polo camp. However, as the film progresses, not only does its narrative get increasingly sinister, but the look and feel of the film subtly lull the audience away from a vivacious security and into the darkest psychological realms of early adolescence.
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Because of the movie’s water polo camp setting, much of it takes place
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