I went into The Turning in the dark and in some ways I wish I hadn’t and in oth­ers I’m glad I did. I’ll see if I can explain.

The film is a col­lec­tion of related shorts, each based on a single story from Tim Winton’s acclaimed col­lec­tion of the same name. That much I knew. As story after story rolled through, each pro­duced by a dif­fer­ent Australian cre­at­ive team, each tak­ing a unique and ori­gin­al approach to storytelling, I star­ted to see con­nec­tions between them. Many of these con­nec­tions were visu­al – the recur­rence of rusty aban­doned cars, people liv­ing in cara­vans. Some were geo­graph­ic – a Western Australian min­ing com­munity sur­roun­ded on one side by red dirt and on the oth­er by the ocean. Damaged, cor­roded and cor­rup­ted mas­culin­ity. Redheads. The name “Vic”.

Afterwards I read a copy of the glossy souven­ir book­let that view­ers get to take away with them when they buy a tick­et for this “spe­cial cine­mat­ic event” and those con­nec­tions became clear­er. In Winton’s book all of the stor­ies inter-connect – char­ac­ters re-occur (often at dif­fer­ent stages of their lives) and events we see in one story might be referred to obliquely in another.

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