Villian(s)  Killer dwarf

Actor(s):  Julie Christie, Donald Sutherland, Hilary Mason, Clelia Matania

Brief Description  Don’t Look Now (1973) is a landmark Anglo-Italian psychological horror-thriller directed by Nicolas Roeg. Adapted from a 1971 short story by Daphne du Maurier, the film stars Donald Sutherland and Julie Christie as a married couple unraveling in an off-season Venice. It is widely celebrated as a cinematic masterpiece for its radical editing, its profound exploration of grief, and one of the most famous endings in horror history.

Plot:
The film opens in the English countryside. John Baxter (Donald Sutherland) examines photographic slides of a church fresco while his wife Laura (Julie Christie) reads. Outside, their young daughter Christine, wearing a bright red mackintosh raincoat, accidentally slips into a pond and drowns. John experiences a sudden, inexplicable flash of panic, rushing outside just in time to pull her lifeless body from the water. Months later, attempting to escape their suffocating grief, the couple relocates to a cold, dreary, wintertime Venice, Italy. John has accepted a commission to restore a mosaic fresco inside the historic Church of San Nicolò dei Mendoli. While Laura is heavily medicated and deeply depressed, John throws himself into his meticulous architectural work as a coping mechanism.

While dining at a restaurant, Laura encounters two elderly Scottish sisters, Wendy and Heather. Heather is blind and claims to possess clairvoyant second sight. She tells Laura that she can see Christine sitting happily between her parents, wearing her red coat. Instead of being horrified, Laura experiences a massive wave of spiritual relief and stops taking her medication. John, a fierce rationalist, completely dismisses the sisters as frauds. However, Heather soon issues a stark, chilling warning: John also possesses psychic abilities but actively represses them, and he must leave Venice immediately because his life is in grave danger.

As John continues his work, a serial killer begins dumping bodies into the Venetian canals, plunging the dark back alleys into a state of panic. Despite his intense skepticism, John begins catching fleeting, blurry glimpses of a small, childlike figure running along the foggy canals, wearing a glossy red coat identical to his dead daughter's. When their son is injured back at school in England, Laura flies home immediately. Shortly after her departure, John is shocked to see Laura on a passing water funeral barge, dressed in black mourning clothes and accompanied by the two mysterious sisters. Believing his wife has been kidnapped or has secretly snuck back into Venice, John goes to the local police.

After tracking down the sisters, John is shocked when Laura calls him on the telephone from England. He realizes with horror that the vision of Laura on the funeral barge was not the present—it was a precognitive flash of the future. Now completely unmoored from reality, John spots the small figure in the red coat running through a dark, deserted palazzo. Believing it is the spirit of Christine, he corners the figure in a locked room. The figure turns around and lowers its hood, revealing it is not a child at all, but a haggard, terrifying female dwarf—the elusive Venetian serial killer. Before John can react, she draws a meat cleaver and slashes his throat. As John lies dying, a rapid montage of flashes reveals that all the bizarre imagery, symbols, and timelines he experienced throughout the film were premonitions of his own inevitable death and funeral.