‘Holland’ Review: A Kitschy Dutch-Themed Midwestern Town Plays Backdrop to a Twisty Mystery

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In this American town called Holland, Mi., everything feels artificial, almost like a dream or fantasy version of an 18th-century Dutch village. It boasts windmills, tulip fields, and fake canal houses. To the character Nancy Vandergroot, portrayed by Nicole Kidman, it appears charming, but to us viewers, it’s nothing more than kitschy – a role that Kidman excels in, evoking the atmosphere of “To Die For” and “The Stepford Wives” in Mimi Cave’s enigmatic thriller.

Much like certain films, “Holland” primarily immerses us in the perspective of its main character, a viewpoint that might seem questionable for a span of two hours, but entertaining for those who enjoy navigating the border between insanity and sanity. Given that it’s Maddie Cave directing, your mind may well conjure up more intriguing theories than where Andrew Sodroski’s script eventually takes us (trivia: At one point, “Holland” was intended to be Errol Morris’ first foray into fiction, with Naomi Watts as the lead actress).

The movie serves as Nick Cave’s sequel to “Fresh,” a chilling take on romantic satire that paved the way for the growing gaslighting genre. In this film, Sebastian Stan portrays an endearing nerd who puts his dates through an unusual form of torment (let’s clarify: medium rare). However, it was scripted prior to the #MeToo movement popularizing resistance against authority, and thus comes off as a relic of ’90s-era movies about sleeping with one’s adversaries.

Could we speculate about any mysterious activities that Fred, Nancy’s husband (played by Matthew Macfadyen), might be engaging in? A diligent partner and well-regarded optometrist in the community, he spends much of his free time immersed in his model railroad hobby, which he also shares with their teenage son Harry (Jude Hill, who starred in Kenneth Branagh’s “Belfast” and seems to have escaped from Village of the Damned). In one scene, we find Nancy entering Fred’s private train room to check on them both. There, she witnesses her husband trimming the limbs off a miniature 1:87-scale female figure. This may seem peculiar, but nothing is ever ordinary in Nancy’s life.

The film “Holland,” shown at SXSW before its March 27th release on Prime Video, was made less than two months after David Lynch’s passing, and his influence on Cave’s surreal visual style is quite apparent. As Nancy narrates her life in Holland as “the most wonderful place on earth,” the camera glides over vibrant Kodachrome tulip fields, only to suddenly shift to a chaotic scene reflecting Lynch’s film “Blue Velvet” – depicting the horrors hidden beneath the idyllic American Dream.

Nancy has a feeling that something isn’t quite right in her marriage, yet she can’t pinpoint the problem exactly. To be honest, she’s grown fond of Dave (Gael García Bernal), the compassionate teacher at her school, which might just be a sign of an unacknowledged emotional entanglement. It’s possible that this could be a complex situation of projection: Nancy might be yearning to be unfaithful, so she unconsciously creates the impression that Fred is being untrue, as a means to justify her own actions. However, if it were solely about justifying her indiscretions, she likely wouldn’t go to such great lengths to investigate him.

In my opinion, Sodroski’s captivating screenplay delves into the rocky past of the central couple, while also shedding light on a period in Nancy’s life that was far from the picturesque existence of Pleasantville, which is now starting to feel monotonous. As Nancy confides in Dave, a Mexican immigrant, she explains, “When you spend your entire life on the fringes, and someone extends an invitation to join the in-crowd, naturally, one can’t resist.”

The tale of Dave, who moved from Mexico to Holland, serves as a poignant reminder that life doesn’t always improve for those who move. His experiences are further illuminated by a subplot involving a former bus driver who is prone to drunkenness and potential abuse, symbolizing the persistent prejudice he still faces.

As a teacher, it’s likely that Nancy has many peers and acquaintances to confide in. However, due to the Vandergroots’ impeccable image within the religious community they are part of, Nancy feels that she can only trust Dave with her investigation. Given that Nancy is the type of wife who takes care of household duties like a 1950s housewife, she has an intimate knowledge of their home. Therefore, she deduces that any evidence of Fred’s extramarital activities, if it exists at all, would be kept hidden in his office safe.

Director Cave skillfully creates thrilling scenes reminiscent of “Rear Window,” where character Nancy becomes a detective, initially peeking into Fred’s workplace and later investigating his secret activities during optometry conferences away from home. The director seems to relish crafting Nancy’s dreams, allowing for an artistic explosion while also subtly introducing misleading clues. In these dream sequences, Cave’s team begins to merge Nancy’s reality with the model city that Fred meticulously focuses on.

Initially, everything appeared perfectly idealized, but as Nancy’s suspicions grew, production designer JC Molina and cinematographer Pawel Pogorzelski started to emphasize the uncertainty. In particular, Pogorzelski subtly integrated Nancy’s perspective into his camera work, although there were also more deliberate instances, such as the clever high-angle shot, which was made more striking by tilt-shift effects, making Nancy and Harry seem like miniature model train figures hurrying towards their front door.

Initially, everything seemed idealized, but as Nancy’s paranoia deepened, production designer JC Molina and cinematographer Pawel Pogorzelski focused on creating an atmosphere of ambiguity. In particular, Pogorzelski subtly incorporated Nancy’s viewpoint into his camera work, although there were also more obvious instances, like the clever high-angle shot enhanced by tilt-shift effects, that made it appear as if Nancy and Harry were tiny toy train figures rushing towards their front door.

Throughout the entire storyline, Macfadyen appears oddly kind-hearted, prompting us to speculate about what he may be concealing. The “Succession” actor infuses his role with a disturbingly Kevin Spacey-esque vibe, strengthening the resemblance some viewers might perceive between “Holland” and the 1999 film “American Beauty” – another production that delves into the sinister rot lurking beneath the facade of suburban tranquility. After a number of years portraying more authentic characters, Kidman’s on-screen persona seems slightly unnatural (her tulips appear somewhat out of place), and director Cave skillfully employs this to the film’s advantage.

Holland” is located at the boundary where American suburban idyll transitions into terrifying dreams, yet it fails to fully deliver on its concept due to a familiar resolution. However, if viewed from Nicole Kidman’s daring career perspective, it remains an intriguing decision for an actress who has accumulated some of the most unconventional roles in the last 25 years. Unfortunately, “Holland” doesn’t venture as far into the realm of madness or campiness as one might hope.

Remarkably, a single or few extraordinary incidents can set a story apart as either unremarkable or legendary in its level of misfortune, and “Holland” offers an astonishing twist unlike any other: After the shocking family secret is revealed, it ends up appearing rather commonplace.

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2025-03-10 08:18