Ben Wheatley, the director of the forthcoming adaptation of Rebecca for Netflix and a huge fan of Roeg’s work, has described the film as a ‘kaleidoscope of meaning’ and, like du Maurier’s original story, the film constantly reveals new interpretations on every viewing, as images rise to the surface and re-form in new and dazzling ways.

In 2019 Don’t Look Now was restored and re-released in cinemas and on a special collectors’ edition DVD and to celebrate this resurgence of interest in the film, Dr Laura Varnam has written this in-depth essay for the Daphne du Maurier website which explores the relationship between the film and short story, Roeg’s approach to the adaptation, and du Maurier’s own response to the film. Often cited as one of the best horror movies of modern times, the film is based on Daphne du Maurier’s 1971 short story of the same name (from the collection originally published as Not After Midnight) and the adaptation ranks as one of the most successful interpretations of du Maurier’s work on the big screen to date.

In 2018 Nicolas Roeg’s psychological thriller Don’t Look Now topped the Time Out poll of the 100 Best British Films, as chosen by film-makers and critics, and the movie remains central to Roeg’s reputation as an innovative and visionary director. John and Laura go to Venice to get away from the unthinkable horror of outliving their own daughter, but their mourning follows them there, and the pain doesn't go away.Don’t Look Now: Nicolas Roeg’s 1973 adaptation of Daphne du Maurier’s short story – is a visual metaphor for the permeance and pervasiveness of grief.

The recurring imagery of Christine’s death – flashbacks of her playing in the fateful red coat, John’s sightings of a mysterious figure wearing the same coat, etc. The ultimate message of Don’t Look Now is that the emotion of grief is powerful enough to break apart even the strongest, healthiest relationship. RELATED: The Most Satisfying Horror Film Aesthetics Psychic visions and a killer in identifying attire are familiar tropes ripped straight from the horror playbook, but the anguish of losing a child so young is all too real. The fact that the final murder is committed by a killer in a red coat suggests Christine’s death might not have been simply a tragic accident it might have been another cosmic warning sign sent to caution John about his own inescapable fate. Don’t Look Now uses the occult themes and gothic imagery of a classic ghost story to explore the psychology of grief.

Don't Look Now by Daphne du Maurier