주인공 워커는 친구 리즈가 자신을 배신하고 돈과 아내를 빼앗아간 사실을 알고 복수를 결심한다.

그는 이를 위해 범죄조직과 손을 잡는 것도 마다하지 않고 집요한 추적을 시작하는데...

# 태그라인

- 도널드 웨스트레이크의 추리 소설 <인간 사냥>을 원작으로 한 컬러 시대에 만들어진 필름 누아르의 최고 걸작 중 하나!

- 동료에게 배신당해 돈과 아내를 뺏긴 한 남자가 죽을 위기에서 되살아나 집요한 복수극을 펼치는 하이퍼 스릴러!

- 현실과 환상 또는 꿈이 뒤섞이고 그 현실과 환상 속에서 또 과거와 현재가 뒤섞여 묘한 매력을 주는 초현실주의 필름 누아르!

# 영문해설

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 Mal

 Reese (John Vernon) and left to die while Reese takes off with Walker's wife Lynne (Sharon Acker) 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). Wanting little but his cash, Walker implacably penetrates Mal's lair and the hierarchy of the shady "Organization," registering no

 emotion about the string of murders left in his wake, as his thoughts repeatedly return to the past that brought him there. In his first American feature,

 Boorman transforms a stripped-down revenge plot into a surreal meditation on the gangster's spiritual demise, using flashbacks and startling shifts in

setting to interweave Walker's fractured memories with his extraordinarily photographed odyssey through L.A. Marvin's chillingly stoic presence further

hints at the ambiguities in Chris's observation that Walker "died at Alcatraz, all right." 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.