The Dutchman is ready to arrive in theaters.
Rogue Pictures and Inaugural Entertainment are set to release director Andre Gaines’ psychological thriller in theaters nationwide on Jan. 2, 2026, The Hollywood Reporter has exclusively learned. André Holland, Zazie Beetz and Kate Mara star in the modern feature adaptation of the 1964 Obie Award-winning play of the same name.
The Dutchman centers on Clay (Holland), a successful but troubled businessman who attends therapy sessions with wife Kaya (Beetz) but soon learns that the therapist follows unconventional methods. Clay also deals with the potentially life-altering impact of a chance encounter with seductive Lula (Mara), whom he meets on a New York City subway ride.
Gaines helmed the movie from a script he co-wrote with Qasim Basir that is based on Amiri Baraka’s play Dutchman. Gaines produces the project alongside Jonathan T. Baker. Stephen McKinley Henderson, Aldis Hodge, Lauren E. Banks and Lenny Platt round out the cast for the film that premiered earlier this year at SXSW.
“The Dutchman is a bold, electrifying adaptation that captures the raw power of Amiri Baraka’s play with unflinching style and urgency — exactly the kind of provocative, conversation-starting cinema that audiences are starving for right now,” says Inaugural Entertainment founder Kevin Weisberg. “For Inaugural Entertainment it is the exact type of film we can’t wait to put in theater.”
Adds Gaines, “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 of The Dutchman for The Hollywood Reporter, critic Lovia Gyarkye wrote that Gaines “intensifies the dramatic work’s surrealist undertones and takes the central couple’s story above ground.” Gyarkye added that moving the narrative beyond the play’s train car gives the film “greater contemporary resonance.”
