Donald Sutherland and Julie Christie star as a married couple who just lost their young daughter in an accidental drowning. Travelling to Venice for work, they meet two elderly sisters who claim to have second sight. Though the husband scoffs at these claims, he too starts to experience odd visions.
This film is not currently playing on MUBI but 30 other great films are. See what’s now showing
One of the finest horror/thrillers ever made - and it doesn't need a conventional storytelling to be seductive and memorable but rather relies on unique atmosphere that entwines shadows and fog with strong colors. Because of that, it feels actually more real as if the rhythm of the plot has its natural flow that mirrors reality. And it's still poetic with its imagery and music while also horrific in its final act.
Nothing in the past decade has come close to Nicolas Roeg's masterful thriller, which simultaneously functions as a technical exercise (there are few things I've watched that are edited this precisely) and a more thoughtful, spiritual one.
Don't Look Now is a stirring creation, a chilling work of art about grief, the fluidity of time, and a thoughtful consideration on self-fulfilling prophecies.
Roeg's psychological thriller is a masterclass in film editing and sound featuring interesting turns by lead thesps Sutherland and Christie. Scripting is a long tease with a less than overwhelming crescendo. Over-rated in some circles this is an exercise in style over substance despite its theological and supernatural undertones.
Similar to 'The Shining' in that it's a movie about horror, rather than just a horror movie. The sex scene is notable not just for the frankness, but because Sutherland and Christie did not know each other and it was the first scene shot.
Love and death in Venice never was so dark and intriguing, albeit going off an honestly limited knowledge of that very specific topic. None the less Don’t Look Now is a masterclass in suspense and features some of the best editing ever to grace the screen, with great direction, score, and performances from Sutherland and Christie. One of the greatest horror films of all time. Deeply mysterious and deadly evocative.
From the Golden Age of Paranoia Thrillers (the 1970s) comes the exact midpoint between Hitchcock and Lynch. Plot-wise, we're in the realm of schlock or pulp (serial killers and clairvoyants wandering about), but the rigorous visuals carry it into the realm of dreams, hitting a sweetspot where just enough is left said and unsaid to make it both lucid, coherent, and aimed directly at the subconscious. A masterpiece.