The Turning comprises seventeen overlapping stories of second thoughts and mid-life regret set in the brooding small-town world of coastal Western Australia. Here are turnings of all kinds - changes of heart, nasty surprises, slow awakenings, sudden detours - where people struggle against the terrible weight of the past and challenge the lives they've made for themselves.
These elegiac stories examine the darkness and frailty of ordinary people and celebrate the moments when the light shines through.
'Spanning three generations from the 70s to the present, 'The Turning' is about twists and turns of all kinds - changes of heart, slow awakenings, nasty surprises and accidents, resolutions made or broken.
'Taking us deep into the emotional lives of the Lang family with their demons, disappointments, rivalries and crippling obsessions, this powerful new drama explores a vision of life lived in the vast Western Australian landscape.' (2008 Perth International Arts Festival promotional note)
'Seventeen extraordinary Australian directors respond to the hauntingly beautiful collection of short stories by Tim Winton. Spanning almost 30 years, these stories provide windows into the lives of men and women in the small coastal town of Angelus. Linking and overlapping, the stories create a stunning and disturbing portrait of a small coastal community in Western Australia. As befits the title of the film, the stories are preoccupied with the extraordinary turning points in ordinary people's lives. Relationships irretrievably alter, resolves are made or broken, and lives change direction forever.'
Source: Screen Australia
'This paper presents a number of key similarities between Nam Le’s story ‘Halflead Bay’ in The Boat and Tim Winton’s 2004 collection of short stories The Turning. Indeed the scale and type of these similarities indicates more than a subconscious attempt at creating what could be considered a quintessentially regional Australian voice. There seems to be mimicry, counterfeit or the call of the lyrebird at play in this story. Picking up Ken Gelder’s ideas of citation and ventriloquism from his 2010 discussion of proximate reading, alongside Connor's discussion of ventriloquism in Dumdstruck, this paper considers the implications of Le’s attempts to ‘out-Winton’ Winton in ‘Halflead Bay.’ Of particular relevance here is Le’s own exploration of ventriloquism and accents in his Wheeler Centre presentation ‘Voices from Elsewhere’, as well the attention he pays to accents, location and problematic authenticity in The Boat’s opening story.' (Publication abstract)