The cinematic universe of Kelly Reichardt has always been defined by its quietude, its deep respect for physical space, and its profound understanding of people who live on the geographic or social fringes of American life. From the transient wanderers of Old Joy and Wendy and Lucy to the exhausted pioneers of Meek’s Cutoff and the tenderly unglamorous bakers of First Cow, her characters are rarely the driving forces of history. Instead, they are people trying to survive the quiet grinding gears of economic and systemic reality. When word emerged that Reichardt was turning her sights toward a 1970s period piece centered on an art heist, a certain sector of film culture experienced a collective double take. A heist movie by Kelly Reichardt sounded like a stylistic contradiction. Classic heist cinema belongs to the smooth, kinetic, and mathematically precise worlds of Jean Pierre Melville or Michael Mann. Reichardt operates on an entirely different frequency, one where the silence betwee...