The spirits of Maria and Antonio Ricci — and perhaps especially of the impish, vulnerable Bruno — live on in the work of Satyajit Ray in Bengal in the late 1950s, in the Brazilian Cinema Novo in the 1960s, in Iran in the 1990s and the United States in the first decade of this century. Films like Ramin Bahrani’s “Chop Shop” and Kelly Reichardt’s “Wendy and Lucy,” which tally the moral and existential costs of economic precariousness, have a clear affinity with “Bicycle Thieves.” -The New York Times