Don Giovanni (1970)

Don Giovanni, a baroque and claustrophobic take on the incest episode of Mozart’s opera, features Bene as the eponymous Don, who spends much of the 72-minute running time crawling through a twisted heap of barbed wire. It follows the non-linear contours set by the earlier films, but new elements are introduced: a deliberately artificial stage-bound setting and a simultaneously eye-pleasing and off-putting color scheme utilizing splashes of red amidst near-bilious shades of orange. Don Giovanni is ultimately most significant as the jumping-off point for its creator’s drift away from the real-life settings and concerns of his previous films toward a hermetic arena of pure expressionism, a tendency that reached its apex in Bene’s next and most astonishing film.