Life is already awkward for fifteen-year-old Alma (Helene Bergsholm) who is stuck in her hometown of Skoddeheimen where her mother (Henriette Steenstrup, MARS & VENUS) works at the local turnip plant. She's perpetually horny and is running up a large phone bill with her "long distance relationship" with phone sex line operator Stig (Per Kjerstad). Curiously, her fantasies about Artur (Matias Myren) tend towards the romantic; that is, until he literally pokes her with his dick at a youth center function. Lip gloss-wearing "choir slut" Ingrid (Beate Støfring) has her own designs on Artur so she turns Alma's classmates against her (giving her the nickname "Dikk-Alma"). It doesn't help the perception of her as a pervert that her constant masturbation is overheard by her mother and her vivid fantasies the least likely of her friends and acquaintances sometimes spill over into waking life with embarrassing results. Her feelings about Artur become confused as he continues to be nice to her while standing by and letting Ingrid ruin her life; but things come to a head when she learns that even her embarrassed mother sees her sexuality as something pathological.

The feature debut of documentarian Jannicke Systad Jacobsen - based on a novel by Olaug Nilssen that focused on the actually focused on three protagonists: Alma, Ingrid's older sister Maria (who has a smaller role - essayed by Julia Bache-Wiig - in the film), and Ingrid's mother (offscreen in the film and voiced by Nilssen herself) - TURN ME ON DAMMIT! is a unique coming of age film, placing its beautiful female protagonist in the kind of embarrassment situations normally cast with gawky male adolescents in raunchier American sex comedies. This is not so much of a stretch given the perceptions of overt displays of female sexual urges where it is used as ammunition (Alma is not branded a slut but a "pervo" and, thus, a liar while nonconformist behavior of Ingrid's sister Saralou [Malin Bjørhovde] and "unwashed" stoner Kjartan [Lars Nordtveit Listau] leave them only open to mild derision). The film perceptively depicts the co-existence in the protagonist of hormonal lust associated with males with the more traditional "romantic" yearnings perceived of females. The mother-daughter relationship is also dimensional in depicting the awkwardness and distance as originating from both sides (there is a wonderfully subtle moment where Alma sneaks into her mother's room and finds a photograph of her mother as a little girl with her own mother while there is no like photograph of her and Alma). The film would make an intriguing double bill with French director Katell Quillévéré's debut feature film LOVE LIKE POISON (UN POISON VIOLENT).