Well now I know where that 'Liebestod' sequence in ARIA came from!
The "Bridget Fonda" sequence in ARIA (by Frank Roddam) certainly owes a great deal to this film, although I'd venture this original has a great deal more depth to it than the cynical ARIA piece. Both are shot without dialogue or sound FX, both are accompanied by (and seem inspired by and built around) the exact same piece of music, both involve the same fatalistic resolutions, and both meditate on the power of love to unite even in tragedy.
Much in the same way as Scorsese's AMERICAN BOY was an obvious, transparent analogue to the "adrenaline scene" from PULP FICTION, I wonder how much conscious influence this film had on Roddam's vision?