I decided to re-watch some Gaspar Noe films as I feel he is the best at affecting the viewer (looking at affect theory). His use of lights, sound, visual symbols and mostly PACE and CAMERA TECHNIQUES are wonderful.
https://www.bfi.org.uk/news-opinion/news-bfi/features/where-begin-gaspar-noe
The violence of that clash can be frightening, even off-putting to some, but a shallow gesture it is not. In public, Noé embraces his reputation as a despised troublemaker producing superficial, disgusting movies. But his work is less a childish provocation than a shock treatment, meant to reawaken the senses rather than desensitise. As such, each new Noé film offers another occasion to revisit the perennial debate of form versus content, ideas versus sensations – only to make these divisions collapse entirely. In Noé’s cinema, the form is the content, the sensations inextricably linked to a film’s ideas.
ENTER THE VOID
Sensory overload that characterises the filmmaker’s work, implying a deceptive emotional depth beneath its psychedelic surface.
POV
IRREVERSABLE
Irréversible is Noé’s most fatalistic film and his most nauseating by design: a low-frequency sound, known to create a sense of uneasiness in listeners, is heard through most of its runtime. Few films have made better use of the visceral power of cinema before or since.