The Dutchman, a psychological thriller from the directorial hand of Andre Gaines, is poised to electrify the silver screen. As exclusively revealed by The Hollywood Reporter, Rogue Pictures and Inaugural Entertainment have set its release date for January 2, 2026, across the nation. The film, a modern adaptation of the 1964 Obie Award-winning play of the same name, stars André Holland, Zazie Beetz, and Kate Mara.
The Dutchman revolves around Clay (Holland), a prosperous yet troubled businessman who embarks on therapy sessions with his wife Kaya (Beetz), only to discover that the therapist employs unconventional methods. Additionally, Clay's life is set to be irrevocably altered by a chance encounter with the alluring Lula (Mara), met on a New York City subway ride. Gaines, who also produced the project alongside Jonathan T. Baker, brought the movie to life from a script he co-wrote with Qasim Basir, based on Amiri Baraka’s play Dutchman. The film, which premiered earlier this year at SXSW, is completed with an ensemble cast including Stephen McKinley Henderson, Aldis Hodge, Lauren E. Banks, and Lenny Platt.
"The Dutchman is a bold and electrifying adaptation that captures the raw power of Amiri Baraka’s play with unflinching style and urgency," says Inaugural Entertainment founder Kevin Weisberg. "It's the kind of provocative, conversation-starting cinema that audiences are craving right now." Gaines adds, "Rogue and Inaugural are the perfect partners to bring The Dutchman to audiences across the country. Marc [Danon], Mike [Arrieta], Kevin, and Ryan [Adams] have been champions of this film since day one, which means the world to me. Bringing The Dutchman to theaters nationwide is not just a dream come true—it's an opportunity for audiences to engage with a story that demands to be felt, enjoyed, and discussed."
In her review for The Hollywood Reporter, critic Lovia Gyarkye wrote that Gaines "intensifies the dramatic work's surreal undertones and takes the central couple's story above ground." She further added that moving the narrative beyond the play's train car gives the film "greater contemporary resonance."
