In Nicolas Roeg’s Don’t Look Now, adapted from a Daphne du Maurier short story, an English couple (Donald Sutherland and Julie Christie) grieves over the accidental drowning death of their daughter. At their new home in Venice, a series of uncanny and portentous circumstances unfolds as the husband restores the stained glass windows of an old church. Through narrative elision, chronological reordering and repetition of colors and images, Roeg presents the entirety of the couple’s shared experience—their ecstatic joys, their physical pleasures, their sorrow and fear of death—in one unbroken line, existing at a fixed time in eternity. Like a wedding ring.
—Russell Lucas