New films “The Plague,” “We Bury the Dead,” and “The Dutchman” offer distinct narratives exploring themes of adolescence, love, and identity. Each film presents unique perspectives, showcasing the talents of emerging directors and actors in a cinematic landscape eager for fresh stories.
The Plague: Navigating Adolescence at a Water Polo Camp
Set in 2003, “The Plague” stands out as a coming-of-age film directed by Charlie Polinger in his directorial debut. The story unfolds at a water polo camp, where young boys grapple with puberty and psychosomatic issues. With a runtime of 1 hour and 38 minutes, the film delves into the complexities of adolescence through the experiences of Ben (played by Everett Blunck), a middle-schooler who befriends Eli (portrayed by Kenny Rasmussen), a boy ostracized due to a severe skin condition.
The film engages audiences as Ben faces social exclusion after befriending Eli, who is labeled as “carrying the plague.” The dynamic among the boys echoes the themes of William Golding’s “Lord of the Flies,” illustrating the harsh realities of youth. Joel Edgerton, playing the camp coach, adds gravitas to the film, although his character’s limited presence raises questions about adult involvement in the boys’ lives.
Blunck delivers a compelling performance, allowing viewers to empathize with his character’s struggles. Rasmussen shows promise as a character actor, while Kayo Martin effectively portrays the antagonist, Jake, whose charm conceals a more sinister nature. The film benefits from impressive cinematography by Steven Breckon, enhancing the emotional depth of the narrative. Polinger has crafted a thought-provoking tale that resonates with the audience, earning a grade of B+.
We Bury the Dead: A Journey Through Love and Loss
“We Bury the Dead,” directed by Zak Hilditch, presents a grim yet captivating narrative. Running for 1 hour and 35 minutes, the film stars Daisy Ridley as Ava Newman, who embarks on a harrowing journey to retrieve bodies in the aftermath of a catastrophic event in Hobart, Australia. The city is devastated after an experimental weapon incident, resulting in a loss of brain activity for all living beings nearby.
Ava’s quest to find her husband, who was at ground zero, intertwines with her collaboration with Clay (played by Brenton Thwaites), a fellow volunteer. The film attempts to merge horror and drama, but critics argue that it often falters in delivering the suspense expected from a zombie film. Ridley’s portrayal of Ava is marked by a lack of palpable fear, detracting from the urgency of her situation.
Despite its thrilling premise, “We Bury the Dead” struggles with coherence, leaving viewers questioning the film’s logic. It offers moments of intensity but fails to maintain a consistent sense of danger. The film ultimately focuses more on character development than on the horror elements, resulting in a grade of C+.
The Dutchman: A Philosophical Take on Race and Identity
In “The Dutchman,” directed by Andre Gaines, audiences witness a modern adaptation of Amiri Baraka’s acclaimed 1964 play. The film, which runs for 1 hour and 29 minutes, features a strong cast, including Andre Holland, Kate Mara, Zazie Beetz, and Stephen McKinley Henderson. The narrative revolves around Clay (Holland), an African American man experiencing marital troubles, who encounters Lula (Mara), a white woman whose obsession leads to a complex and uncomfortable relationship.
While the film tackles significant social issues surrounding race and gender, its execution leaves much to be desired. Critics note that the screenplay often feels more suited for the stage, with characters engaging in philosophical discussions that lack the realism necessary for effective cinematic storytelling. Holland’s performance, while promising, does not fully capitalize on his abilities, leading to a sense of disconnect with audiences.
Gaines’s adaptation attempts to delve into deep-rooted themes but falls short due to the inconsistency of character behaviors and narrative flow. This leads to a less impactful experience for viewers, resulting in a grade of C-.
Overall, these three films reflect a diverse range of narratives and styles, each contributing to the ongoing dialogue in contemporary cinema. As audiences seek stories that resonate with their experiences, the exploration of adolescence, love, and identity remains relevant and compelling.
