The Wasteland Reviewer

The Dutchman (2026) Written Review

What is the most dangerous thing in the life of a successful black man? A vindictive and nefarious white woman. The Dutchman tells the tale of Andre Holland’s Clay who is processing his faltering marriage to Zazie Beetz’ Kaya as he meets an aggressive and mysterious white woman, Kate Mara’s Lula, in the subway. One evening threatens to destroy his life in many ways. Things get stranger and stranger throughout the evening as Lula holds Clay hostage through threats as he soon discovers that there is something much darker and more sinister afoot than he could have ever imagined. 

How does writer/director Andre Gaines bring this sinister and haunting story to life? Gaines does a great job of capturing the contemporary urban setting perfectly well which matches the successful place that Clay inhabits. It is only in the dirty, grimy subway system that he comes across this nefarious woman who attempts to bring her darkness into his more refined existence. The tone of the film is also quite unnerving as a strong sense of tension and suspense loom large over Clay and the audience. There are some interesting and dynamic filmic elements that stand out, especially in the way that the camera captures the characters in space on screen. The music from composer Daniel Hart helps craft that foreboding feeling throughout the film (including some small motifs that sound ripped from The Shining). Tonally, this is a weighty film that finds itself into some dark and violent plays as the story progresses. The vibes of Gaines’ film are all there. 

Does the story from Gaines and Qasim Basir meet the same heights? Unfortunately, the script is not the strongest element of the film. Unfortunately, the themes and ideas behind the film struggle to be presented with clarity or depth. It is obvious that the writing for Lula was meant to present plenty of dark and racist elements hidden in plain sight throughout society. There are plenty of scenes that put the characters and audience into horribly uncomfortable spaces as they process some of the wild stuff coming out of Lula’s month. Her actions speak to the power that non-marginalized individuals have over marginalized ones. But the film lacks a purpose for showing all of this besides the obvious “don’t do this”. The mechanisms that bring about this woman are clunky, overly explained, and lack true impact with its purpose. Many of the interactions amongst the characters are blunt and lack nuance or intriguing. Most of what comes out of Lula month sounds like stuff you could find with a search of “what are the most insensitive things to say to a black person”. Even the big revelations towards the end of the film feel contrite and not as profound as what the film thinks it is.

Does this talented cast bring more depth than the screenplay offers? Holland is a rising star amongst leading men, and he delivers yet another strong, confident, and committed performance as Clay. There are moments as the film progresses when he gets to lean into a more manic and complex persona that it is quite interesting to see unfold. Mara almost steals this whole film from the rest of the cast with her full committed and unhinged turn as this seductive, problematic, and manipulative woman. She is too alluring to ignore and too vile to truly like. You just cannot stop watching her. The truly emotional core of the film comes from Beetz who is vulnerable and honest in such a poignant way. Stephen McKinley Henderson is such a great actor with great presence which makes his role here work even though he just spews exposition and thematic discourse the whole time he is on screen. Overall, this is a strong cast full of intriguing players who fill out this film. 

Is The Dutchman as interesting or compelling as it hopes to be? There are plenty of interesting and provocative ideas and motifs in Gaines’ film. Unfortunately, there is just not enough cohesion or depth to tie them all together. This is certainly a haunting and tense cinematic experience (thanks to Gaines’ deft direction). The cast is strong and anchored by some compelling performances (especially from Holland, Mara, and Beetz). This is still an interesting, lean thriller but it just does come together quite so cohesively.