
As a devoted admirer of Reichardt’s work, I find that “The Mastermind” is initially subtle in its impact but leaves an indelible impression once it’s digested. Her films are so immersive and candid, they seem to unfold organically, making the intricacies of their narrative structure more evident over time. For this particular film, what struck me repeatedly was how James, though present, seemed to hover above his life rather than truly inhabit it. A skilled carpenter with a strong sense of pride, he doesn’t seem to secure many projects. When his father (Bill Camp) criticizes the success of another local carpenter at the dinner table, James dismisses him, labeling his rival’s focus on accounts and schedules as a foolish waste of time – a sentiment echoed by a man who spends his days dreaming of an easy windfall. Married to Terri (Alana Haim) with two sons, James doesn’t seem fully committed to his role as a caregiver. He’s been borrowing money from his mother (Hope Davis), fabricating stories about needing equipment and supplies for jobs he doesn’t have. The year is 1970, the Vietnam War is in full swing, and protesters fill the streets, yet James barely acknowledges their presence as he goes about his life.