Cut away the non-linear structure, the running visual cues and kinetic editing, and DON'T LOOK NOW would probably still be a good, if fairly predictable movie. But fortunately for us we don't have to do that, and the fact is that Nicolas Roeg in only his second feature as a director has crafted a masterpiece of mood and tone, and DON'T LOOK NOW stands as an achievement of the presentation of pure dread, and a stunning example of how a director can directly engage the audience in his vision.
