Sydney Film Festival 2025 - The Mastermind

 

“He said you were the mastermind behind it all.”

Steady, subtle and tragic, The Mastermind tries to pull of something great, but ultimately leaves you wanting more, much like its titular protagonist’s attempts at success which end in abject failure, in a film that’s patient in its exploration of one man’s selfish effort to try and get quick rich and the broader impact his actions have on those he loves. 

Discussion Points:

Kelly Reichardt’s films are known for their pensive approach and slow pace that slowly lull you into the rhythm of her characters lives. But in The Mastermind, Josh O’Connor’s JB goes from one rhythm of life to an entirely different one after an art heist goes wrong and causes his suburban life to fall apart. Set in 1970, and against the backdrop of political and social change, rebellion and resistance, the film feels pulled right from the period with its subdued colour palette and period details. And yet the greed that motivates JB to hustle his own mother and attempt a big score, are timely themes. His selfishness is his own undoing - and watching Josh O’Connors subtle increasing sadness is powerful. Sadly the film underuses Alana Haim and John Magaro, and feels rather lethargic in its second half compared to its snappier first inning, although the jazzy score does help keep some liveliness throughout. Everything that steadily builds to the heist is enthralling, but once JB is on the run, it becomes surprisingly slow despite the fact he’s now a wanted man. I did appreciate the irony of the title, as it very quickly becomes apparent that JB’s plan is anything but foolproof as it rapidly falls apart and leaves him scrambling to recover. Overall, Reinhardt’s latest is a technical beauty with a solid central performance, but that feels less masterful than it could’ve been.