I don't entirely "get" it, it doesn't act in explicable ways which at least makes it interesting. Firstly, there is little trauma in a place that seems to exist as a physical manifestation of grief. Because Roeg shoots loosely, naturally, this seems intentional even as main metaphors and important plots (the killer) are relegated to periphery. Yet the suggestion that psychic/spiritual space is altered is undeniable.
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.
DCP. Enduring 110 minutes of a hyper-fragmented editing trying to make an effect that could fill a dramaturgical disinterest, with an extensive use of zooms doing thematic and textured raccords, may be appealing to many, but it deeply irritated me. A dull approximation to the "giallo" with Christie's breasts and just a few wide angles. Remains the music of master Pino Donaggio...
3-4. This movie has an overall brilliant command over religious semiology, tracing the path of a man whose reason strangles his own strong connection to the divine, and ultimately seems to frame his divine connection as the domino that began his end. I'm slightly ambivalent about the part where Donald Sutherland is wandering around looking for Laura, not least because his acting's spotty in places. Still, loved it.
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.
Watched Nicolas Roeg's Don't Look Back earlier. A strange film, not so much straight horror as a psychological thriller with slight supernatural/horror elements. An eery, uneasy quality hangs over the whole film. Roeg's non-linear editing techniques are very prominent in this film and this only adds to the strangeness and uneasiness.
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.
Great for when you want to see a threadbare concept gently tugged until it reaches two hours. Roeg is full on stylist here - later works will take scenes from this and make them more bizarre (Kubrick, Lynch). The perfectly dreadful Venice is one of the great accomplishments here. Christie feels like she's been wasted, Sutherland is a capable avatar, and, you know, horrific mother figures steal the show.