Continuing the theme from Chasing Svelte (films from 2005-2008) I provide eight of the most convolutedly-bizarre, dark-humor films of all time (as of 2019). These ABCD Films are not in alphabetical order, best-to-worst, or oldest-to-most recent; they are in my recommended viewing/re-viewing order, which is referred to as mix tape order (explained by Rob Gordon in the very non-bizarre film High Fidelity).
If you are unfamiliar with this cross-genre niche, welcome to discovering something you will either love or hate.
Rubber is the first on this list because it rolls somewhere between unexpectedly-strange and oddly-hilarious. Why do the characters speak English in this French-Angolan film? No reason. If Rubber is too surreal and unsettling (even though all great films, without exception, contain an important element of no reason) then you have already learned not to keep watching down this list.
Bad Boy Bubby is so much more of everything (which is why it's in the #2 spot). This underground, extremely-dark Australian comedy contains some thought-provokingly disturbing imagery and very adult situations. Not mainstream horror, but a few scenes fall so far outside "normal film standards" that viewers who enjoy it are confirmed ABCD film lovers. (Rough-experimenal in technical quality.) 
Allegro non troppo, an animated Italian musical formatted like Fantasia, is insightful, humorous, and consistently off-kilter. Familiarity with the Disney film isn't a prerequisite. The six shorts, accompanied by classical music, are sandwiched between strange live sequences with subtitles. "Man's origin" set to Ravel's Boléro is permanently wedged in my monkey brain. (Suitable for mature children.) 
The Brand New Testament, a French-Belgian odd-quirky comedy, is much more main-stream than the films which precede it because "quality mix tape order" requires a softening lull and this begins the less-intense midpoint. The next few are still ABCD films, but some leave less room for interpretation; less room for thinking; less room for discussion.
eXistenZ is Cronenburg at his Cronenburgiest (I mention because some are overly confused/put-off by his films). It's as if Nolan's Inception was melted into Spielburg's Minority Report with a flamethrower—only with creatures grabbed from inside and put outside. Watch it (again?) but don't focus on the when-did-that-what-happen. Think about the subtexts. 
John Dies At the End is delectably detestably (thank you word-suggest) debatably similar to the previous two (buoying-down/anchoring-up the slightly more Hollywoodish midpoint of this list) only John Dies At the End has significantly more sauce, overt philosophy, and abstruse wordplay (when you come across a new word for the very first time in your life you'll always read or hear it again within twenty-four hours).
Eraserhead intentionally makes empathic viewers uncomfortable in a myriad of ways. That is its gift. (Those querulously confused, lost, and/or befuddled are more-than-likely the opposite of an empath.) This is the penultimate ABCD film: second-most experimental (behind Bad Boy Bubby); second-oldest (behind Allegro non troppo) and second-to absolute most surreal.
Gozu is a Japanese film (subtitles) with a Yakuza enforcer central character, but it's not an action/suspense film; it's engorged with dark humor, but it shouldn't be placed in the comedy genre; and it gushes with whatdidIjustsee (normally labelled horror) but doesn't fit comfortably in that skin. Gozu will be tattooed into your long term memory. It's overwhelming grand finale pushes the bizarre out. All the way out.
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