Film Review – The Dutchman (2025)

      The Dutchman, 2025.

      Directed by Andre Gaines.

      Cast includes André Holland, Kate Mara, Zazie Beetz, Stephen McKinley Henderson, Aldis Hodge, Lauren E. Banks, Tracy Wilder, Shonica Gooden, Lazarus Simmons, Sally Stewart, and Megan Miller.

      SYNOPSIS:

      A prosperous Black businessman grappling with a failing marriage and an identity crisis becomes involved in a sexualized chase with a mysterious white woman on a subway, culminating in a violent outcome.

      In an effort to showcase the enduring relevance of Amiri Baraka's stage play The Dutchman, director Andre Gaines, known for his sports documentaries on groundbreaking Black athletes, shifts to a narrative feature addressing racial identity, co-writing alongside Qasim Basir. This retelling features Clay (André Holland), who joins a long tradition of Black men facing an identity crisis as they navigate the tension between cultural authenticity and white assimilation—a theme that feels timeless.

      During a therapy session with his wife Kaya (Zazie Beetz), they navigate the consequences of her infidelity with another Black man (possibly one more attuned to his roots). Dr. Amiri (Stephen McKinley Henderson) recognizes the challenges Clay faces and encourages him to read The Dutchman, reminding him that we can often see ourselves reflected in art. While this message is significant, it’s presented within a high-concept premise that doesn’t fully develop, merely hinting at its contemporary relevance.

      Afterward, Clay takes the subway home to prepare for a fundraiser hosted by his politician friend Warren (Aldis Hodge), where he intends to deliver a speech. On this journey, he meets the racially insensitive yet alluring Lula (Kate Mara), who appears to possess an unsettling amount of knowledge about him. Lula engages in psychological games, claiming that everything she states is a fabrication. Notably, she offers him apples, a biblical reference so blatant it becomes somewhat cringeworthy (this serves as a reminder that not every concept translates effectively to film). Additionally, he experiences an odd encounter with a mysterious woman (Sally Stewart) who implores him not to pursue this path and to remain true to himself, although her role is nearly insignificant and does little to enrich the narrative.

      Lula's intentions reveal a manipulative agenda as she seduces Clay at his home, subsequently blackmailing him into attending the party as his plus-one, which his wife will also be present at. The film hints at a supernatural element surrounding Lula, yet this aspect feels underdeveloped and perplexing. Regardless, Clay and Lula make their way to the party, with him unprepared for any sort of speech and her intruding on conversations meant for Black attendees, making a fool of herself.

      As a duologue, The Dutchman occasionally benefits from André Holland's performance, which encompasses a range of emotions from conflict to confusion and vulnerability, while Kate Mara hams it up as her character grows increasingly unhinged, revealing her thinly disguised racism. However, the story itself tends to be repetitive, especially upon their arrival at the fundraiser, presenting numerous ideas that ultimately lack direction. It’s a film about identity that itself grapples with an identity crisis. While this approach is arguably bolder than a straightforward adaptation of The Dutchman, it struggles to clearly define its purpose.

      Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

      Robert Kojder