![]() ![]() Yet, because the ending to "The Turning" is so abrupt and unclear, it doesn't enrich the movie's themes about cycles of abuse and trauma. This is why it matters that the movie takes place in 1994: without the Internet or related tech, Kate, Flora, and Miles are all the more isolated in a house that's haunted by the specters (figurative or otherwise) of those who once lived there. As indicated earlier, the characters in "The Turning" are all "locked in" with their trauma in some way. It's not hard to follow Sigismondi's meaning. However, when they turn around to face her, Kate screams. Miles and Flora later mock Kate and deny being able to see Peter's ghost, triggering Kate to imagine visiting what appears to be her mother. ![]() Grose saying she hopes her mom's condition isn't genetic. "The Turning" then reveals everything that happened after Kate received her mom's art was a vision she had triggered by Mrs. This explains why the lonely duo struggle yet clearly yearn to bond with Kate - who's likewise haunted by her father abandoning her as a child and her mother's condition - and even flee their home with her after Peter's ghost kills Mrs. It also reveals that Miles learned much of his own toxic behavior from Peter (whose ghost pressures him to torment Kate), similar to how Flora is traumatized from witnessing her parents' death and losing Miss Jessel. As those familiar with "Turn of the Screw" have surely noted, "The Turning" puts a far darker spin on Miss Jessel and Peter's relationship than other adaptations. ![]()
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