On a recent Monday in October at 9.30am, a group of professional thieves snuck into the Louvre and made off with eight sets of Napoleonic jewels. The break-in was meticulously planned and executed, and the thieves fled the museum in under seven minutes. The same cannot be said, however, for the protagonists of Kelly Reichardt’s new – and conveniently timed – art heist film The Mastermind, which opens in UK cinemas this weekend.

In Reichardt’s film, ahellip;

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