Turn Me On, Dammit!
In Skoddeheimen, Norway, 15-year-old Alma is consumed by her hormones and fantasies that range from sweetly romantic images of Artur, the boyfriend she yearns for, to daydreams about practically everybody she lays eyes on.
A frank portrayal of adolescent eroticism, female division, which seldom gets portrayed onscreen at all, much less at the affectionately candid level explored here, the film is set in a less-than-vibrant burg of western Norway that everyone seems to hate; Alma and her pal Sara ritually flip off the sign that bears its name, Skoddeheimen, each time their school bus passes it. Turn Me On, Dammit! concerns itself with a number of the usual teen-movie tropes, including the loyalty of best friends, the cruelty of adolescence and the torture inflicted on the young by their parents. The paramount issue, however, is Alma’s burgeoning lust. Helmer Jannicke Systad Jacobsen interweaves Alma’s fantasies, which involve just about anyone, with her day-to-day routine around the curiously named Skoddeheimen and her floundering flirtations.
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