Lee Marvin is Walker, a man who only needs one name and only wants one thing: the $93,000 in stolen cash his former partner in crime took from him when he double crossed Walker and left him for dead. A man on a mission to tear the underworld syndicates of Los Angeles apart, working his way up the ranks of the shadowy Organisation until he can find someone, anyone, and make them pay. Amoral, borderline experimental and deeply weird, John Boorman’s noir thriller Point Blank is a vision of LA that has never looked so stark, bright and hostile.

Point Blank was selected for preservation by the National Film Registry as “culturally, historically, or aesthetically significant” and it hits every one of those marks. Based on Richard Stark’s pulp-noir antihero, Walker is played by Lee Marvin as an unstoppable malevolent entity driven only by revenge. The plot (Walker finds someone, they are incredulous he’s doing all this for so little money, he kills them) follows the fragmented non-linear structure of Stark’s writing, resulting in a film that perfectly encapsulates the late 60s American dream at odds with itself— tough-guy schtick shot through with urban alienation and psychedelic visuals.