There's a great piece in the latest edition of Senses of Cinema on Paul Thomas Anderson's terribly underrated Punch-Drunk Love. Calling it "by far Anderson's most complex film", writer Cubie King explores how the director uses color in an attempt "to tell its story semantically." Most interestingly, King talks about how Anderson uses in-camera effects such as lense flairs to creat abstractions that objectify the emotion of a given scene. For instance, when the Adam Sandler character's love for Emily Watson motivates him to stand up to the shady phone-sex scamster played by Philip Seymour Hoffman, a pink-and-blue blur mars Hoffman's image. King says, "[t]his systematic use of lens flares show us visually that Barry's love for Lena is indeed real and it becomes a physical element of the film itself."