‘The Dutchman’ Review: André Holland Leads Andre Gaines’ Haunting Contemporary Take on a 1964 Classic — SXSW

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Mar 17

**André Holland and Kate Mara in 'The Dutchman' Frank DeMarco/Andre Gaines**

“A modern psychological thriller that reclaims and reinterprets the legacy of Amir Baraka’s classic play”

Few works of American theater remain as blisteringly relevant as Amiri Baraka’s 1964 play Dutchman, a stark and searing one-act drama that explored racial tension through a subway car encounter between a Black man and a white woman. Six decades later, director Andre Gaines reimagines Baraka’s work through a contemporary lens, delivering a haunting and psychologically intense thriller that doesn’t just revisit history—it dares to confront it anew.

The Dutchman stars André Holland as Clay, a polished, successful Black man navigating an identity crisis spurred by personal betrayal and societal expectations. His wife, Kaya (Zazie Beetz), has been unfaithful, and those around him suggest that revenge might be the most just response. But Clay is not just battling the ghosts of his marriage—he’s also contending with the deep-seated racial prejudices that continue to define his place in the world.

Enter Lula (Kate Mara), a mysterious and dangerously seductive white woman who seems to know everything about him. What begins as an alluring encounter soon takes a darker turn, as Lula’s words and actions begin to reveal a sinister game—one that Clay never consented to play, yet finds himself unable to escape.

“Who looks outside, dreams; who looks inside, awakes,” reads the opening quote from Carl Jung, setting the tone for a film that explores self-perception, racial identity, and the psychological scars of oppression. Nearly 60 years after Dutchman first shocked audiences, and in the wake of the tragic death of Jordan Neely on a New York subway, the film’s themes feel as urgent and necessary as ever.

Reclaiming the Narrative in a Digital Age

Baraka’s original play was confined to the underground subway car, a symbol of America’s endless cycles of racial injustice. Gaines and co-writer Qasim Basir expand The Dutchman beyond its claustrophobic origins, allowing Clay’s internal struggle to unfold across multiple locations, giving the film a broader sense of psychological and emotional scope.

The adaptation introduces a crucial new figure: Dr. Amiri (Stephen McKinley Henderson), Clay and Kaya’s marriage counselor, who hands Clay a copy of Dutchman as a means of self-reflection. “We find pieces of ourselves in literature that help us heal,” Amiri tells him—a moment that feels almost like a direct challenge to both the character and the audience.

But as Clay reads, the film takes on a meta quality. Rather than simply embodying the play’s protagonist, he unwittingly becomes part of its tragic cycle. Lula, rather than simply being a symbol of white liberal complicity, evolves into something more sinister—a force of manipulation and control, twisting history to serve her own purpose.

Gaines and Basir’s biggest gamble—introducing supernatural elements—pays off in unexpected ways. Instead of feeling like an unnecessary embellishment, these elements heighten the film’s sense of inevitability. Clay’s fate is not just dictated by those around him but seemingly written into the very fabric of history itself. The horror isn’t just personal—it’s systemic, cyclical, and ever-repeating.

Powerhouse Performances That Bring Psychological Depth

At the center of The Dutchman is André Holland, delivering one of his most riveting performances to date. Clay is a man at war with himself, torn between what society expects him to be and the anger he’s long suppressed. Holland’s controlled yet deeply expressive performance makes Clay’s struggle painfully real. Even in moments of quiet introspection, you can feel the weight of history pressing down on him.

Opposite him, Kate Mara’s Lula is a revelation. Gone is the overtly flirtatious femme fatale of the original play. Instead, Mara’s portrayal is colder, more calculating, her seduction laced with an unsettling undercurrent of cruelty. She isn’t merely toying with Clay—she’s dismantling him piece by piece, reveling in his discomfort.

Zazie Beetz shines in her brief but emotionally charged role as Kaya, adding depth to what could have been a one-note “unfaithful wife” archetype. She embodies a woman who, much like Clay, is grappling with the weight of societal and personal expectations. Meanwhile, Stephen McKinley Henderson brings gravitas to Dr. Amiri, a man who understands all too well the dangers of ignoring the past.

Even in smaller roles, Aldis Hodge and Lauren E. Banks add texture to the world Gaines has built, reinforcing the idea that Clay’s story is not just his own but emblematic of a larger, shared experience.

A Visually Striking, Symbolism-Rich Film

Gaines’ visual storytelling enhances The Dutchman’s psychological intensity. The cinematography by Federico Cesca (Premature, Queen & Slim) plays with shadow and contrast, reinforcing Clay’s fractured sense of self. Warm, golden lighting gives way to stark, clinical whites as Lula’s influence grows stronger, subtly shifting the film’s mood from grounded drama to waking nightmare.

The use of mirrors and reflections throughout the film underscores Clay’s internal struggle. As he converses with Lula, his reflection often appears fragmented, distorted—mirroring his growing loss of control. Meanwhile, the film’s eerie, minimalist score by Tamar-kali (Mudbound) punctuates key moments with an almost hypnotic quality, adding to the film’s dreamlike, unsettling atmosphere.

The editing, too, is deliberately disorienting, especially in the final act, where the lines between reality, memory, and fiction begin to blur. As Clay grapples with the terrifying realization of his fate, the audience is pulled into his spiral, forced to confront the uncomfortable truths at the heart of Baraka’s original work.

A Haunting Exploration of Racial Identity and Power

At its core, The Dutchman is not just a thriller—it’s a statement. Gaines and Basir don’t just update Baraka’s play; they interrogate it, challenging the audience to question what has truly changed in the decades since it was first performed. The film is unflinching in its portrayal of racial power dynamics, but it also offers something new: a chance for reclamation, for rewriting the narrative.

By incorporating meta-textual elements, The Dutchman forces us to ask: How much control do we really have over our own stories? Are we doomed to repeat history, or can we break free from its grip? It’s a harrowing, deeply resonant message—one that lingers long after the credits roll.

For those familiar with the original play, The Dutchman offers a fresh, thought-provoking take that honors Baraka’s vision while carving out its own place in contemporary cinema. For newcomers, it serves as a gripping psychological thriller with social weight, compelling performances, and a chilling, unforgettable finale.