The Mastermind

J.B. Mooney (Josh O’Connor) dreams of becoming an art thief, though he wouldn’t stand a chance of joining Danny Ocean’s crew. Even the far less discerning bandits from La chimera would likely turn him down. But what J.B. lacks in talent, he makes up for in sheer determination; he’s convinced that pulling off a heist at the local museum will earn him not only riches but, more importantly, the respect of his dismissive family. Mooney’s personal quest for recognition plays out against a much larger backdrop. It’s the 1970s, and America is roiled by mass protests against the Vietnam War and President Nixon’s administration. The question becomes: can J.B. rise above his ego and see that, despite using wildly different methods, he might actually have something in common with the hippies rebelling against the patriarchal status quo? Premiering at Cannes, The Mastermind finds Kelly Reichardt (First Cow, 11th AFF; Meek’s Cutoff, 15th AFF) in dialogue with New Hollywood classics. At once a tribute to a bygone era of filmmaking and a reflection on the present, the film poses a timely question: in an age of crisis, can unexpected alliances lead to genuine community?