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Todd Haynes presents a revisionist take on the paranoia thriller with this story of a Southern California housewife who suddenly falls victim to an inexplicable, apparently incurable illness. Carol White (Julianne Moore) lives with her husband and son in suburban comfort until she collapses one day, for no apparent reason. Her condition worsens in the weeks that follow, as she suffers from coughing fits, exhaustion, and spontaneous nose bleeds, triggered by sources as disparate as car exhaust, cologne, and the sun. Failing to find any medical explanation for her maladies, her doctor refers her to a psychiatrist, who suggests that her physical ailments are psychosomatic – a theory echoed by her callous and increasingly frustrated husband. At her wits' end, Carol withdraws to an expensive New Age retreat for sufferers of "20th century disease," where the community's guru (Peter Friedman) champions a dubious regimen of diet, climate control, introspection, and self-love.

Vivre sa vie presents 12 episodes in the life of a young woman who turns to prostitution to pay her rent. Each episode features a theatrical scene preceded by a title that lists the characters in the episode, its location, and a brief summary of the action. As he would throughout his career, director Jean-Luc Godard uses prostitution as a metaphor for both economic life in general and the position of the filmmaker under capitalism. The improvised acting and fragmented story give the viewer the impression of watching a documentary about a woman's life that is also a series of essays about aesthetics and economics. In addition, the film's camera style presents a catalogue of alternatives to conventional shooting strategies.

Based on Donald E. Westlake's novel The Hunter, John Boorman's gangster film hauntingly merges a generic revenge story with a European art cinema sensibility. In Alcatraz to divvy up the spoils from a robbery, thief Walker (Lee Marvin) is instead shot point blank by his double-crossing friend and left to die while Reese takes off with Walker's wife and his $93,000. Resurrected, the stone-faced Walker returns to Los Angeles a couple of years later to seek revenge on Mal with the help of the enigmatic Yost (Keenan Wynn) and Lynne's sister Chris (Angie Dickinson). Brutal in the violence that it shows and suggests, Point Blank opened in the U.S. in the same period as Bonnie and Clyde, becoming one more testament to the genre-bending and ground-breaking possibilities of the nascent Hollywood New Wave. Although Point Blank was mostly overlooked in 1967, Boorman's visual adventurousness, and Marvin's amoral and apathetic antihero, have since made Point Blank seem one of the key films of the mid-late '60s, a precursor to revisionist experimentations from Martin Scorsese to Quentin Tarantino. It was remade as the 1999 Mel Gibson vehicle Payback.

Carlos Saura wrote and directed this powerful psychological drama in which family crises which reflect the embattled soul of a nation are seen through the eyes of an unusually perceptive child. Ana (Ana Torrent) is an eight-year-old girl growing up in a troubled household – her father Anselmo is a general in the Spanish military during the waning days of Franco's repressive regime, and her mother (Geraldine Chaplin) is dead, Ana having witnessed her agonizing final moments. Anna, her older sister Irene and younger sister Juana are looked after by their emotionally chilly Aunt Paulina, while housekeeper Rosa (Florinda Chico) provides what little warmth there is to be found in the household. While Ana's mother is gone, the girl frequently sees and hears her mother's spirit, and is convinced Anselmo's emotional neglect and infidelity is responsible for her death, leading the youngster to take her own form of revenge against her father.

After winning a cult following for several offbeat and darkly witty gore films, New Zealand director Peter Jackson abruptly shifted gears with this stylish, compelling, and ultimately disturbing tale of two teenage girls who construct an elaborate fantasy world named Borovnia and slowly drift away from reality, fueling an ultimately fatal obsession. The girls' parents decide that perhaps they're spending too much time together, and try to bring them back into the real world, but this only leads to a desperate and violent bid for freedom. Remarkably enough, Heavenly Creatures is based on a true story; in real life, Juliet grew up to become mystery novelist Anne Perry.