Cannes Review: In Kelly Reichardt's The Mastermind, crimes are a lost game

For the second time in three years, Cannes' competition ends with a film in which Josh O'Connor plays a shabby man from the late 20th century with a little knack for mastery. In the following (spiritual or in other way) Alice Rohrwacher's La Chimera Kelly Reichardt's The Mastermind, an experiment in shape that is so thorough and confident that even Robert Bresson may have valued it. Nobody expected that the first raid film by the diverse director Ocean's 11, but the mastermind is still remarkably low for Flash. There is a jazzy score by Rob Mazurek and some with saving opening loans, but this is very a Reichardt joint: from the beautiful, sylvan landscapes and autumnal color palette to the patient, the observation tone, she suggests how art could have really been deprived in the early 1970s.

However, the mastermind is invoiced as a new addition to the raid, …