What Is The Ending Of 'Don'T Look Now' Explained?

2025-12-03 02:42:14 73

4 Answers

Piper
Piper
2025-12-04 05:33:26
The first time I saw 'Don't Look Now,' I screamed at the TV. That ending is merciless. John’s chase through Venice’s alleys is tense, but the real genius is how the film lulls you into his perspective. You’re as fooled as he is. The red herring (literally!) of the red coat is such a clever misdirect. And the abruptness of his death—no dramatic music, just a swift cut to black—leaves you gasping. It’s the kind of ending that demands a rewatch to catch all the foreshadowing you missed. Brutal, but brilliant.
Uma
Uma
2025-12-05 08:40:35
That ending wrecked me! I went in expecting a slow-burn psychological thriller, but the way it subverts expectations is genius. John’s obsession with the red coat feels so relatable—like anyone grasping at hope after a loss. But Venice’s eerie canals and the psychic’s warnings create this suffocating dread. When he chases the figure, the audience wants it to be his daughter, right? That’s the cruel trick. The reveal isn’t just scary; it’s heartbreaking. The dwarf’s face under the hood is the stuff of nightmares, but the real horror is John’s shattered hope. The film’s nonlinear style makes the tragedy feel fated, like he was Always Running toward that moment.
Dean
Dean
2025-12-07 11:36:11
The ending of 'Don't Look Now' is one of those gut-punch moments that lingers long after the credits roll. At first glance, it seems like a classic horror twist—John Baxter, grieving the loss of his daughter, becomes obsessed with a mysterious figure in a red coat he keeps seeing in Venice. He’s convinced it’s his dead child, but the reality is far more chilling. In the final scene, he finally catches up to the figure, only to realize it’s a dwarf serial killer who slashes his throat. The irony is brutal: his desperation to reconnect with his daughter blinds him to the danger right in front of him.

What makes it hit harder is the film’s themes of grief and denial. Throughout the story, John dismisses his wife’s psychic visions and his own premonitions, clinging to logic until the very end. The red coat becomes a symbol of his inability to let go, and the payoff is a masterclass in tragic irony. Nicolas Roeg’s direction amplifies the horror—the editing jumps between past and present, making the finale feel inevitable yet shocking. It’s not just a jump scare; it’s a commentary on how grief can distort reality.
Graham
Graham
2025-12-09 18:33:56
I’ve dissected this ending so many times! Roeg layers symbolism everywhere—the red coat mirrors John’s daughter’s drowning, water imagery ties to his repressed guilt, and even the psychic’s earlier warning ('You’re in danger because you refuse to see') becomes literal. The murder isn’t random; it’s the culmination of his denial. What’s wild is how the film plays with time. Flash-forwards hint at his death before it happens, making the ending feel like a twisted déjà vu. The dwarf’s reveal is visceral, but the deeper punch is realizing John’s love for his child doomed him. It’s a rare horror film where the monster isn’t supernatural—it’s human blindness.
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