Don't Look Now (1973)

Nicolas Roeg's revered, but little known psychological horror is an effective and disturbing example of 70s cinema at it's finest. The story, as it is, concerns a happily married couple Laura and John Baxter (Julie Christie and Donald Sutherland, both excellent throughout) who suffer a terrible tragedy. In order to recover they take a trip to Venice, but the impact of their loss follows them, as they are warned of further tragedy up ahead by a slightly creepy psychic who takes a shine to them.
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Don't Look Now is all about atmosphere, right from the films unsettling opening it has a very distinctive feel and edge that never quite feel right. The film is never safe and predictable, which lend it a tremendous air of tension and uncertainty throughout. Roeg uses a variety of techniques to accomplish this, from dream sequences and great use of symbolism and imagery he quickly paints a picture of grief and psychological worry. It is even more remarkable to reflect upon the way characterises and uses the location of Venice, so often leaned on as a romantic paradise, here it's eerie canal-lined streets and crumbling façade's all threaten the unexpected, the couple's sense of isolation, from the world and each other, never more clearly depicted as in the sequence when they spend a night apart, Laura visiting the psychic woman for some sort of closure whilst John drowns his sorrows. 
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Playing a large part in the building of tension and atmosphere is the wonderful sound work and score by Pino Donaggio, never overbearing but unnerving throughout. The lack of release or closure is one of the film's greatest strengths, all the peripheral characters that we need also seem slightly off, you start to not trust anyone, the carefully worded script leaves many things ambiguous (including the nature of the psychic lady who seems to offer assistance) until suddenly it is too late, and events of the films shocking conclusion are in motion. The conclusion is possibly the one aspect of the film that shows its age a little bit, it remains effective nonetheless, and the film on the whole holds up incredibly well.
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The performances throughout are excellent and bold, Christie and Sutherland make a convincing couple, familiar but distant. Their infamous moment of connection in the middle of the film is as affecting and emotionally honest scenes of its ilk that I can ever remember watching. While the film can be unflinching, honest and tough to watch at times it also has a great air of mystery that keeps the story moving, even though even as you watch you feel no good can come of things.
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Overall I found Don't Look Now a real surprise, it's oppressing atmosphere retains its power and the great performances and direction lift the film to the very highest tier. File this alongside Rosemary's Baby as a prime example of the power of cinema to evoke fear from mood and atmosphere, a feeling of dread almost unparalleled and a film well worth making time for.