Published on April 5, 2026
Kelly Reichardt is one of the most fascinating American directors of the past three decades. As anyone who has followed her career can tell you, from her 1994 debut “River of Grass” through to 2019’s “First Cow” and 2022’s “Showing Up,” she has plowed her own furrow in indie cinema. While other talents have dipped their toes into formulaic studio fare with mixed results, she has remained resolutely indie.
Her ninth feature, “The Mastermind,” is a typical Reichardt film. Loosely inspired -life events, it serves as a throwback to classic low-level crime films. Josh O’Connor stars as James Blaine Mooney, an unemployed carpenter and father of two who is married to Alana Haim’s Terri. Regular visits to a local art museum with his family provide cover for JB, who scouts the gallery for potential robbing opportunities—even stealing a figurine from one cabinet.
Under the pretense of landing a possible architecture gig, JB borrows money from his parents played and Bill Camp. He plans a heist with Eli Gelb’s Guy Hickey and Cole Dorman’s Larry Duffy in his basement. Aware that museum staff will recognize him due to his frequent visits, JB asks Larry and Guy to carry out the robbery instead. However, the operation does not go as planned when Javion Allen’s Ronnie Gibson replaces one of the team members at the last minute.
While JB and his associates manage to steal the paintings, the heist catches media attention, leading police to his door. Despite a momentary ruse using his father’s name, the mounting pressure strains his marriage to Terri. The film unfolds a classic narrative of “crime doesn’t pay,” with JB attempting to stay a step ahead of the authorities.
Staying true to Reichardt’s signature style, the story progresses at a deliberate pace, evoking the spirit of low-level crime cinema reminiscent of Ulu Grosbard’s “Straight Time” and the works of Jean Pierre Melville. O’Connor delivers a standout performance as JB, a privileged man who fancies himself much cleverer than he truly is. Haim, Davis, Camp, Gelb, Dorman, and Allen all shine alongside him. The film features moments that allow for subtlety, such as a scene where O’Connor and Ga’s characters hover on a porch, showcasing a masterclass in non-verbal communication.
On the other hand, Walter Salles’ “I’m Still Here,” winner of the Best Foreign Language film at the Oscars, presents a stirring dramatization of a real-life tragedy. Set during the dictatorship in Brazil from the late 1960s to the early 1970s, the film draws from Marcelo Rubens Paiva’s 2015 memoir. Oscar-nominated Fernanda Torres portrays Eunice Paiva, who balances motherhood with political activism as her husband, Selton Mello’s Congressman Rubens Paiva, faces increasing danger.
As the family enjoys their life, particularly in moments of levity, an undercurrent of imminent danger looms. Initially palpable with the arrest of Rubens and Eunice, the family’s sense of safety erodes further when both are imprisoned. The film deftly interweaves themes of family and politics, highlighting the injustices faced ’s disappeared.
Salles’ compelling storytelling creates parallels with Alfonso Cuaron’s “Roma,” combining personal and political narratives. “I’m Still Here” honors Eunice Paiva as a mother and activist, showcasing her resilience and courage. Torres’ committed performance earns the audience’s admiration, while the supporting cast, including Mello and Herszage, convincingly portrays a close-knit family.
Expert pacing his editor Alfonso Goncalves enhances the film’s impact, while Adrian Tejilo’s cinematography invokes the grainy film stocks of the 1970s. After 34 years, Salles continues to demonstrate his prowess, delivering a film that ranks among his finest in a rich career.
“The Mastermind” was released in UK and Irish cinemas on October 24, 2025, while “I’m Still Here” debuted in the same regions on February 21, 2025.
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