In a way, Roeg employs a similar principal as the moment of hypotenuse in the filmic structure of Don’t Look Now. The plot to a degree runs linearly but also relies on flashbacks and insertions of the future to the present via premonitions. Tthe film pivots between past, present, and future- repose and tension. Roeg places the viewer at the moment of hypotenuse but is in control of perceptions- moving them forward and backward and never promising that they willl see something they would want to.
