The initial trailer for Kelly Reichardt’s The Mastermind features Josh O’Connor executing a heist.

      One of four Josh O’Connor films set to release this fall, Kelly Reichardt’s The Mastermind is undoubtedly our most eagerly awaited among the group. Featuring Alana Haim, Gaby Hoffman, John Magaro, Hope Davis, and Bill Camp, MUBI has now unveiled the first trailer and poster for this Cannes debut, which will premiere at the New York Film Festival before its release on October 17.

      The NYFF synopsis states: “Set in early-1970s Framingham, Massachusetts, reticent family man James (Josh O’Connor) impulsively decides to carry out a heist at the local art museum, stealing a selection of modern artworks with little planning in place. This autumnal, subtle, and frequently humorous anti-thriller from Kelly Reichardt (Showing Up, NYFF60) places this low-key criminal endeavor against a Nixon-era backdrop characterized by alienation and political disillusionment. As always, Reichardt’s exceptional craftsmanship is at the forefront: the film’s naturalistic style and remarkable period details create a portrayal of unwavering authenticity and psychological intrigue. Whether motivated by social indifference or artistic fervor, James—masterfully portrayed by O’Connor with a melancholic charm—serves as a compelling modern interpretation of the ’70s American male loner archetype for yet another aimless, dispiriting era.”

      Rory O’Connor remarked in his review, “For the second time in three years, Cannes’ competition concludes with a film featuring Josh O’Connor as a scruffy man from the late 20th century with talent for acquiring masterpieces. Following (in spirit or otherwise) Alice Rohrwacher’s La Chimera is Kelly Reichardt’s The Mastermind, an experiment in form so meticulous and confident that even Robert Bresson might have appreciated it. No one anticipated that the versatile director’s first heist film would bear any resemblance to Ocean’s 11, yet The Mastermind remains remarkably devoid of extravagance. It includes a jazzy score by Rob Mazurek and some even more vibrant opening credits, but this is distinctly a Reichardt project: from its stunning, verdant landscapes and autumn color scheme to the patient, observational tone, it evokes what stealing art in the early 1970s might have genuinely felt like.”

      Watch the trailer below.