Don't Look Now

A couple lose their daughter and go to Venice in winter. That is enough plot for the film and it is not what the film is about.

Nicolas Roeg cuts it associatively rather than chronologically: red recurs, water recurs, breaking glass recurs, and the edit repeatedly shows you the ending without you being able to read it. The film is doing to the audience exactly what it says John is doing, which is receiving information out of order and interpreting it wrong.

Donald Sutherland and Julie Christie are extraordinary, and the sex scene is famous for being intercut with them dressing afterwards, which was Roeg's solution to making it read as intimacy between two grieving people rather than as a set piece.

Venice out of season has never looked worse, which is the correct choice.

The last two minutes are among the few genuine shocks in cinema that still land on people who know it is coming.