There is a lot about The Dutchman that feels both compelling and uneven, as if it is constantly torn between honouring its theatrical roots and reinventing itself for a modern audience. Directed by André Gaines and adapted from Amiri Baraka’s acclaimed 1964 play, the film tackles race, identity and power with admirable boldness, even if the execution does not always land cleanly.
André Holland (Selma, Moonlight) is Clay, a successful, yet deeply troubled black businessman, attending therapy sessions with his wife, Kaya (Zazie Beetz ), in an attempt to salvage their marriage. But their mysterious therapist is not all that he seems and begins to unexpectedly appear to Clay outside of their sessions. On a New York subway train, Clay encounters Lula (Kate Mara), a seductive but sinister white stranger who slowly begins to unravel his life. Clay must discover the truth behind this encounter to get back to his wife, heal his fractured relationship, and survive the night.
The central encounter between Clay and Lula remains the film’s most gripping element. Kate Mara plays Lula with a chilling duality, shifting from flirtatious charm to something far more unsettling with ease. Her initial interaction with Clay feels deliberately provocative, laced with deliberate microagressions designed to provoke a reaction from him.
Holland delivers a measured and thoughtful performance, capturing a man caught between two worlds, and a deep internal conflict about his identity and place in the world.
Gaines expands the story beyond the confines of the subway, introducing Clay’s strained marriage with Kaya and the reason behind their crumbling marriage. These additions give the narrative a broader psychological scope, though they also contribute to a slightly disjointed structure.
Visually and thematically, there is a clear effort to connect Baraka’s original message to contemporary America. The film suggests that the cycles of racial tension and manipulation it depicts are far from resolved, giving the story an unsettling sense of relevance. However, the heavy-handed symbolism and uneven pacing sometimes dilute the impact of these ideas, making certain moments feel more forced than powerful.
Despite its flaws, The Dutchman remains a film that demands attention. It is thought-provoking, confrontational, and elevated by strong performances, even when its narrative loses focus. While it does not fully realise its potential, the film succeeds in sparking conversation and challenging its audience.
