I can't think of another film that uses style and technique of both sound and image so vividly to make the audience see the world from the (skewed) angle of the main character. From Jon Brion's incessant score and the detail given to the offscreen sound FX to the use of flares and bleaching out the frame by shooting into the sun.
There are hints that Sandler's character Barry Egan has synaesthesia in the coloured transitions between scenes that use the work of digital artist & painter Jeremy Blake. It's interesting that some of the shapes and colours Blake uses are similar to those in the synaesthesia scene I cut for The Soloist (I wasn't aware of Blake's work at the time) but as the sequences are made up from static paintings the overall impression of the images being dictated by the music is much more subtle.
Here's Jeremy Blake's credits sequence for Punch Drunk Love
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