Een jonge Japanse man droomt al jaren van een echte Goddess: de Citroën DS. Op een dag vindt hij een aanbieding van zo'n wagen op het internet. Hij zoekt contact met de verkoper, spreekt een prijs af en besluit om naar Australië te reizen om de wagen te gaan kopen. Maar als hij eenmaal bij de plaats van zijn bestemming aankomt, blijkt de verkoper dood te zijn. Een 17-jarig meisje dat in het huis van de verkoper aanwezig is, laat hem binnen en presenteert hem de wagen. Samen beginnen ze aan een vijfdaagse trip met de Goddess.
Nee, helaas is The Goddess of 1967 nog niet beschikbaar op Netflix in Nederland.
| Production | Akiko Funatsu | Executive Producer |
| Production | 方令正 | Producer |
| Production | Peter Sainsbury | Executive Producer |
| Production | Michael J. Werner | Executive Producer |
| Production | Dennis Kiely | Line Producer |
| Production | Helen Loveridge | Executive Producer |
| Directing | Clara Law | Director |
| Writing | Clara Law | Writer |
| Production | Wouter Barendrecht | Executive Producer |
| Writing | 方令正 | Writer |
| Costume & Make-Up | Robyn Austin | Makeup Supervisor |
| Directing | Geoff Willman | Third Assistant Director |
| Art | Emma Lawes | Art Direction |
| Crew | Christian Gazal | Post Production Supervisor |
| Art | Geoff Howe | Construction Coordinator |
| Art | Dillon Yeats | Runner Art Department |
| Camera | Roy Mico | Key Grip |
| Production | Auslan Ismail | Location Manager |
| Camera | John Balbi | Grip |
| Lighting | Nick De Laine | Gaffer |
| Camera | Benjamin Jasper | Focus Puller |
| Sound | Robert Mackenzie | ADR Recordist |
| Crew | Mick Corrigan | Stunts |
| Lighting | Adam Hunter | Best Boy Electric |
| Crew | Billy Browne | Post Production Assistant |
| Production | Geoff Naylor | Unit Manager |
| Directing | Tanya Jackson | Second Assistant Director |
| Sound | Sue Kerr | Boom Operator |
| Camera | Jeremy Dibben | Assistant Camera |
| Visual Effects | Chris Schwarze | Visual Effects Producer |
| Production | Jane Norris | Casting Assistant |
| Visual Effects | Andrea Parkes | Visual Effects Producer |
| Visual Effects | Peter Webb | Visual Effects |
| Camera | Venetia Armstrong-Smith | Clapper Loader |
| Production | Dani Skye | Casting Assistant |
| Directing | Chris Webb | First Assistant Director |
| Directing | Scott Lovelock | Third Assistant Director |
| Sound | Gerry Long | Foley Artist |
| Camera | Sally Eccleston | First Assistant Camera |
| Costume & Make-Up | Margaret Aston | Assistant Makeup Artist |
| Sound | Skye Ritchie | Assistant Sound Editor |
| Camera | Simon Cardwell | Still Photographer |
| Editing | Arthur Cambridge | Color Grading |
| Sound | Livia Ruzic | Sound Editor |
| Editing | Caroline Scott | Assistant Editor |
| Sound | Roger Savage | Sound Mixer |
| Visual Effects | Scott Otto Anderson | Animation Director |
| Editing | Adrian Hauser | Colorist |
| Costume & Make-Up | Robyn Austin | Hair Supervisor |
| Sound | Gareth Vanderhope | Sound Effects Designer |
| Crew | Sue Healy | Choreographer |
| Directing | Claude Gonzalez | Continuity |
| Production | Lucy Vorst | Production Accountant |
| Production | Katie Gordon | Production Coordinator |
| Art | Scott Otto Anderson | Title Designer |
| Sound | Peter Grace | Sound Recordist |
| Costume & Make-Up | Annie Marshall | Costume Design |
| Art | Nicholas McCallum | Production Design |
| Production | Anousha Zarkesh | Casting |
| Camera | Dion Beebe | Director of Photography |
| Editing | Kate Williams | Editor |
| Production | Yoko Narahashi | Casting |
| Costume & Make-Up | Helen Mather | Costume Design |
| Sound | Jen Anderson | Original Music Composer |
