André Gaines’ The Dutchman reimagines Amiri Baraka’s landmark play as a modern psychological thriller set over the course of one long, unraveling night in New York City. Clay (André Holland) is a polished, successful businessman whose marriage to Kaya (Zazie Beetz) is deteriorating as the two grow emotionally distant, made worse by Kaya’s affair. The couple attends therapy with Dr. Amiri (Stephen McKinley Henderson), who uncovers one important fact—Clay is lost. He doesn’t know where his marriage stands, and he’s merely keeping up appearances at work, barely recognizing the person he’s become. As he leaves, Dr. Amiri begins reading from a script called The Dutchman, and the play’s details start mirroring Clay’s life from that point forward.
Taking the long subway ride alone, Clay meets Lula (Kate Mara), a magnetic and unpredictable stranger who immediately takes an unsettling interest in him. What begins as flirtation turns into a sexually charged game of cat and mouse, as Lula peppers Clay with deeply personal questions, acting like she already knows his life—and even his friends. Soon, Lula becomes the aggressor in the relationship. As her taunts escalate, she methodically chips away at Clay’s carefully constructed persona, forcing him to react in ways he never anticipated.
Lula tempts Clay to walk her to her apartment. Clay gives in, and, as if scripted, the two begin having sex. Realizing the encounter was a mistake, Clay attempts to leave. Under the guise of blackmail—and with a screech that threatens an assault accusation—Lula demands two things from Clay: take her to an important party of community leaders and tell her that he loves her, whether he means it or not. Clay gives in to the first, but not the second.
“…the play’s details start mirroring Clay’s life from that point forward.”
Right from the start, you can feel the Twilight Zone vibes of The Dutchman. This is a morality tale about a man forced to wear a mask throughout everyday life—in his marriage, on the street, and at work. He’s worn these masks so long that he has forgotten who he truly is, particularly as a Black man. There are certain airs that must be maintained within the community. Then there’s the real world, where Lula represents how the world sees Black men. It’s a hyper-realized moment of Clay attempting to navigate white spaces, where self-control means safety and losing it means self-destruction. I’m not Black, but the idea lands: we all wear masks, and there’s safety in conformity. Step out of line, and you risk ostracism—or cancellation.
As a film, The Dutchman is a fantastic drama with a moral twist. Its cast is top-notch. André Holland has full command of the Clay arc. You can’t lose with Kate Mara, Zazie Beetz, Aldis Hodge, and Stephen McKinley Henderson backing up dialogue this dense.
Great movies to me are stories that engage from start to finish and ask important questions at the end. The Dutchman does that from start to finish. Moral tales point out how flawed we are—and suggest a better way forward. And for Clay, that journey is far from over. Enjoy.
"…Right from the start, you can feel the Twilight Zone vibes…"
