Kelly Reichardt, known for her nuanced character studies, has once again redefined cinematic boundaries. Following her critically acclaimed work “Showing Up,” where she explored the complexities of artistic rivalry, reichardt now ventures into the heist genre with “The Mastermind.” However, this is no ordinary heist film.Its a gentle, self-deprecating take that carves out an entirely new niche.

Set in 1970, “The Mastermind” eschews the high-octane thrills typically associated with the era.Instead, it focuses on a less-than-brilliant art thief, portrayed by Josh O’Connor, who fully embraces the character’s “loser vibes.” O’Connor’s character snatches canvases by a relatively obscure modernist painter from a poorly guarded Massachusetts museum. The film then meticulously details the fallout as his ill-conceived plan crumbles around him.

Reichardt’s focus isn’t on the heist itself, but on the aftermath.The film delves into the “hypnotically awkward kitchen conversations with disappointed family members who won’t lend him any more money and would rather he just clear out.” This intimate portrayal of familial disappointment adds a layer of poignant comedy to the narrative.

The film boasts an “exquisite period-perfect cast” including alana Haim, bill Camp, Hope Davis, and John Magaro. Their performances contribute to the film’s authentic and understated atmosphere.

While fans of Danny Ocean-style heists might be disappointed, those who appreciate the “skittering jazz music as the soundtrack of desperation” will find “the Mastermind” to be a delightful and unique comedy.

Leave it to Kelly Reichardt…to make the gentlest,most self-deprecating heist movie imaginable. In this very way, she’s invented a whole new genre.