A young woman quits her teaching job to be a private tutor (governess) for a wealthy young heiress who witnessed her parent's tragic death. Shortly after arriving, the girl's degenerate brother is sent home from his boar...
A young woman quits her teaching job to be a private tutor (governess) for a wealthy young heiress who witnessed her parent's tragic death. Shortly after arriving, the girl's degenerate brother is sent home from his boar...
The film primarily functions as a psychological horror story exploring themes of mental instability and the ambiguity of reality, offering no clear political problem or solution. Its focus on individual psychological torment and an unresolved, ambiguous ending prevents it from aligning with a specific political ideology.
The movie features traditional casting with no explicit race or gender swaps of roles. Its narrative primarily focuses on psychological horror and gothic themes, without explicitly critiquing traditional identities or centering DEI themes.
The Turning does not include any discernible LGBTQ+ characters or themes within its plot or character arcs. The film's focus remains on its horror elements and the protagonist's descent into madness, resulting in no depiction of queer identities or experiences.
The movie does not contain any action or adventure elements.
The film is an adaptation of Henry James's novella "The Turn of the Screw." All major characters, including the Governess, Miles, Flora, Mrs. Grose, Peter Quint, and Miss Jessel, retain their established genders from the source material.
The film is an adaptation of Henry James's 1898 novella "The Turn of the Screw." All major characters, implicitly white in the original Victorian-era source material, are portrayed by white actors in this adaptation. No characters established as one race were depicted as a different race.
Combines user and critic ratings from four sources