Off the cuff -

1. Aki Kaurismaki's "Hamlet Goes Business" for its utter irreverence for Shakespeare's text (the central issue around which there is a heap of dead bodies in the film, is the business of making rubber ducks!!!)

2. Agree with John about "Ashik Kerib" and would like to add "Legend of Suram Fortress". Perhaps, also "Sayatnova" because what is mindboggling is that Paradzhanov's crafty lighting (virtually no shadows) hardly allows depth and produces a flat painterly surface.

3. Jean Cocteau's "Blood Of a Poet" in addition to the Orphee trilogy that John suggests.

4. Maya Deren's "Meshes Of Afternoon"

5. Juraj Herz's "The Cremator" for the truly bizarre conflation (and the suggestion that one becomes the other) of the language of peace and salvation with fascism and murder.

6. Peter Greenaway's "A Zed and Two Noughts"

7. Fellini's "Juliet Of The Spirits"

8. Bert Haanstra's "Zoo". The gaze into the cage is turned on itself.

7. M. F. Hussain's "Gajagamini" and "Meenaxi". These are really a series of installations and tableux exploiting bollywood kitsch.

8. Cronenberg's "Crash"

9. Bunuel's "The Exterminating Angel"

10. Reggio's "Koyaanisqatsi" 

M