Now here's a film that may just get you thinking, the extents that some go to with abstractive linking, as a daughter is drowned, this might just make you frown, as you witness two souls, whose reality's sinking. Wandering around Venice there's a large hint of menace, two sisters suggest afterlife has a premise, a wife who believes, husband who still grieves, though to him, hocus pocus, is far too remiss. Understanding their feelings is the key to the door, through eyes that have witnessed events that have scored, a scar through their souls, left bottomless holes, a knife that has slashed at least one, to the floor.

Don't Look Now is based on a Daphne Du Maurier story. She also wrote Rebecca. The movie version was directed by Alfred Hitchcock and won the Best Picture Oscar.

Don't Look Now is often held as an example of how a movie adaptation can be refreshingly different from the source material.

Director Nicolas Roeg was not a traditional director preferring to push the envelope. The movie is known making Venice look Gothic and menacing. As well as the tender lovemaking scene between Julie Christie and Donald Sutherland. It was regarded as rather graphic for the time.

Laura Baxter (Christie) and John Baxter (Donald Sutherland) are devastated when their daughter Christine accidentally drowns in a pond outside their home. She was wearing a shiny plastic red raincoat at the time.

John had some kind of second sight that she was in danger but was too late to save her.

Some time later, with their other son in Boarding school. Laura and John are in Venice. He is involved in a project to restore a church.

Laura has a chance encounter with two sisters, Heather and Wendy. Heather is blind but has psychic abilities. One of them is that Christine is communicating with her and that John might be in danger is they stay in Venice.

John dismisses the sisters but this is a Venice where a serial killer is on the loose. John is also having visions of someone in a red cape.

What begins as a film about family loss and grieving. It slowly but suddenly morphs into a psychic supernatural thriller that leans into horror.

You sense that John might be going mad as he has visions of Laura when he knows she has left Venice for England. He also dismisses his own supernatural abilities, his own sense that bad luck seems to follow him.

There is a subplot that Roeg introduces where John along with others could be the suspected killer. The ending is creepy and both horrific.

Apparently Du Maurier liked the adaptation of this story. Roeg introduces a lot of symbolism in the film. Hence why when the figure in the red cape turns around it is startling.

As a footnote when Joel Schumacher made Flatliners. The Kiefer Sutherland character had visions of a figure in red.

Laura Baxter (Julie Christie) and John Baxter (Donald Sutherland) suffer a tragedy when their daughter drowns. Later, the couple is in Venice where John is restoring a church. They encounter elderly sisters, Heather and Wendy. Heather is a blind psychic and sees their dead daughter.

This is a slow burn. It's an artsy gothic horror. There are two great actors here. John is flailing around. I notice it from his near accident at the church. He's contorting himself out of shape to grab the rope. The movie feels like it's contorting itself out of shape. It's uncomfortably eerie. The movie, Venice itself, and the characters are all oddly unreal. There is an uncontrolled feel to their actions. It's a slow descend into a kind of madness.