Almost anything by Visconti.
Almost indeed. Death In Venice is truly one the stodgiest, sludgy-looking, crudely zoom-heavily and gallumphingly edited pieces of turgidly portentous 'cinema' I have ever had the misfortune to bear witness to.
22.214.171.124. - The structure of the film is just awesome. It's not just start to end. It basically keeps going back to the start and showing different sides of the same story.
Would that the same 4321 as Noel Clarke's self-indulgent tossfest of a lesbian wank fantasy
I have a few potential entries for the title category, but I'll toss Polanski's Repulsion into the ring first. That truly is a film in which everything you see in each frame, and every aspect of it behind and in front of the camera, is controlled to the most complete degree and scarily driven desire to fulfil the intended 'vision' of the director. It's one of those films I was fortunate enough to see as a teenager, so that it stood out so starkly from amongst the sea of 'general' cinema I was devouring as much as I could have of at the time, and pretty much 20 years later my opinion of what it is and represents hasn't changed.