Synopsis
Pass the warning.
While grieving a terrible loss, a married couple meet two mysterious sisters, one of whom gives them a message sent from the afterlife.
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Don't Look Now
Cast
Director
Producers
Writers
Original Writer
Casting
Editor
Cinematography
Assistant Director
Executive Producer
Art Direction
Set Decoration
Composer
Sound
Costume Design
Makeup
Hairstyling
Studios
Countries
Primary Language
Spoken Languages
Alternative Titles
Avdøde advarer, Venecia rojo shocking, Ne gledaj sada, Nu privi acum, Akai Kage, Wenn die Gondeln Trauer tragen, Aquele Inverno em Veneza, A Venezia... un dicembre rosso shocking, Ne vous retournez pas, 威尼斯疑魂, Amenaza en la sombra, Ne nézz vissza!, А теперь не смотри, Rødt chok, המבט, Μετά τα Μεσάνυχτα, Karanlığın Gölgesi, Inverno de Sangue em Veneza, Nie oglądaj się teraz, А сега не гледай, Rösten från andra sidan, 赤い影, 쳐다보지 마라, 威尼斯痴魂, Villur vegar, Đừng Nhìn Bây Giờ, Nu te uita acum, Amenaça a l’ombra, Amenaza en la Sombra, Kauhunkierre
Genres
Themes
Horror, the undead and monster classics Intense violence and sexual transgression Humanity and the world around us Terrifying, haunted, and supernatural horror Twisted dark psychological thriller Gothic and eerie haunting horror Creepy, chilling, and terrifying horror Gory, gruesome, and slasher horror Show All…
Releases by Date
Premiere
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Greece
Panorama of European Cinema
25 Sep 2015
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Greece
Athens International Film Festival
Theatrical limited
25 Jun 2020
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GreeceΚ-15
Theatrical
18 Jan 1973
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Canada14A
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Ireland18
11 Oct 1973
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UK18
03 Dec 1973
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UK18
09 Dec 1973
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USAR
13 Dec 1973
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ItalyVM18
15 Dec 1973
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AustraliaM
25 Dec 1973
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Sweden15
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USAR
07 Mar 1974
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Netherlands16
18 Mar 1974
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Denmark15
03 May 1974
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Norway18
14 Jun 1974
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PortugalM/16
29 Aug 1974
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Germany16
17 Sep 1974
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France12
01 Oct 1974
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Iceland
15 Nov 1974
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FinlandK-16
12 Feb 1975
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Spain18
28 Feb 1975
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New ZealandR16
28 Jul 1975
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Poland
18 Nov 1978
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Turkey
19 Aug 1983
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Japan
09 Jul 2004
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Greece
16 Sep 2020
-
France12
Digital
24 Aug 2011
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France
Physical
07 Feb 2001
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France12
29 Jul 2002
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UK
06 Apr 2004
-
Sweden15
07 Apr 2005
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Netherlands16
06 Jul 2015
-
Sweden15
15 Jun 2021
-
France12
TV
10 May 2003
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Netherlands16
Releases by Country
Australia
15 Dec 1973
- TheatricalM
Canada
18 Jan 1973
- Theatrical14A
Denmark
18 Mar 1974
- Theatrical15
Finland
15 Nov 1974
- TheatricalK-16
France
17 Sep 1974
- Theatrical12
07 Feb 2001
- Physical12 DVD
24 Aug 2011
- Digital VOD
16 Sep 2020
- Theatrical12 Reprise
15 Jun 2021
- Physical12 Blu-Ray
Germany
29 Aug 1974
- Theatrical16
Greece
09 Jul 2004
- Theatrical Re-release
17 Oct 2007
- Premiere Panorama of European Cinema
25 Sep 2015
- Premiere Athens International Film Festival
25 Jun 2020
- Theatrical limitedΚ-15 Re-release
Iceland
01 Oct 1974
- Theatrical
Ireland
18 Jan 1973
- Theatrical18
Italy
13 Dec 1973
- TheatricalVM18
Japan
19 Aug 1983
- Theatrical
Netherlands
07 Mar 1974
- Theatrical16
10 May 2003
- TV16 Net 5
07 Apr 2005
- Physical16 DVD
New Zealand
28 Feb 1975
- TheatricalR16
Norway
03 May 1974
- Theatrical18
Poland
28 Jul 1975
- Theatrical
Portugal
14 Jun 1974
- TheatricalM/16
Spain
12 Feb 1975
- Theatrical18 Madrid
Sweden
25 Dec 1973
- Theatrical15
06 Apr 2004
- Physical15 DVD
06 Jul 2015
- Physical15 Blu-ray
Turkey
18 Nov 1978
- Theatrical
UK
11 Oct 1973
- Theatrical18 (London)
03 Dec 1973
- Theatrical18
29 Jul 2002
- Physical DVD
USA
09 Dec 1973
- TheatricalR (New York City)
25 Dec 1973
- TheatricalR
Popular reviews
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For me, the most terrifying scene in Don't Look Now is a testament to Nicolas Roeg's direction, Scott and Bryant's script, and Donald Sutherland and Julie Christie's skill as actors as the scene itself is nowhere near traditionally frightening, and out of context seems almost bland and/or relieving. The scene in question occurs after Sutherland's Baxter chases what he thinks to be his wife across Venice, only to call home to England and find she had arrived safe and sound earlier that day. The scene was terrifying not in that I wondered what kind of phantom he had seen, but in the absolute strangeness of the performances across the phone lines. Christie's voice is too-assuring and virtually prattles on that…
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Don't you love it when a film completely brings its respective story into full focus? Don't Look Now, for much of its run-time, was meandering and boring at points. I found it hard to stay invested into the story, but there was always a new development to make sure I didn't turn it off. And then, the final 10 minutes happened....
I don't think I've had an opinion of a film change so fast. Truly, as Don't Look Now had its end credits rolling, I was unsettled beyond belief. Eyes darting, hearing every sound, seeing every shadow, sensing every presence; The only cure for how freaking scared I was as a result of the film was sleep.
So, here I…
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"If the world is round, why is a frozen lake flat?"
I can't get a grip on why this has never worked for me. Perhaps its phantasmagoria is too grounded, too rooted in a very pragmatic British skepticism. Even given all the curlicue editing and repeated motifs, I don't think it ever truly succumbs to irrationality. Its final twist never seems unexpected or out-of-balance to me. I keep wanting it to go truly over the edge. It's all my problem, apparently.
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This is the only movie I’m sure I’ll be putting on my Sight and Sound all time ballot, and knowing this has prompted me to re-examine my criteria (and maybe rewatch Don’t Look Now, not that I ever need an excuse).
I can’t say that Don’t Look Now is the best film I’ve ever seen; I don’t even think it’s flawless. The long section after Julie Christie goes back to England and Sutherland skulks around in between meetings with the local authorities is finally essential to Roeg’s structure, but it’s draggy compared to the amazingly pressurized scenes that precede it; I personally love the staging of the finale, but enough other people find it lacking or laughable that I have… -
Oh, I hate when this happens. Everyone else likes this, so why don't I?
I see the artsiness. The shot at the beginning of the little girl in her raincoat reflected in the water was so innocent yet so ominous, and I was like yes, this is gonna be great!! Then... nothing happened. Then some more nothing happened. Then I fell asleep, woke up, and thought a cat had stepped on something that took me to porn. 70s mustache porn, no less. But no, this 110 minute movie has a random, uncomfortably long sex scene and I'm not a prude but 1) nobody wants to see 70s people having sex and 2) if they do, porn exists. And most importantly,…
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Roeg adapts a haunting, grief-stricken gothic-horror short story by Daphne Du Maurier about coming to terms with the seemingly random, chaotic, and inexplicable nature of death, and—in the process of loosely borrowing grammar from Hitchcock (who also adapted Du Maurier into Rebecca and The Birds), Resnais, and the Giallo in order to conjure this idea cinematically—ends up with one of the most surreal, impressionistic psychological horror experiences maybe ever assembled.
The first time I watched this I think I was a bit taken aback by how familiar its actual ghost, serial killer, and "grief" narrative elements are when juxtaposed with such a radical, temporal form but I realized on this watch that making the grounded and rational feel like a…
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me, knowing full well that donald and kiefer sutherland are related: wow this fella sure looks an awful lot like kiefer sutherland
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