In the cinematic tapestry woven by Mimi Cave, “Holland” emerges as a spectral presence—an oddity that resists easy classification. It tantalizes the senses with the promise of a thriller, yet, paradoxically, it languishes in a void of inertia, its self-awareness stifling any authentic tension. While one might expect the film to echo the darkly comedic stylings of the Coen brothers, it instead stumbles into a realm of drabness, oddly buoyed only by an ever-committed Nicole Kidman, whose performance feels adrift without a destination.
On paper, the ingredients seem ripe for intrigue: a star-studded cast, and narratives steeped in the allure of suburban secrets. My own excitement fizzled as I daydreamed about the behind-the-scenes machinations rather than the fates of the characters unfolding before me. Kidman, playing the complex Nancy Vandergroot—a teacher navigating the nuanced quirks of Holland, Michigan—brings a certain Midwestern charm to the role. However, this vibrant backdrop, rich in Dutch history with its tulip festivals and charming windmills, becomes a mere tableau, offering scant commentary on the artifice that often cloaks our true selves.
Nancy’s husband, Fred Vandergroot—portrayed by Matthew Macfadyen—occupies a curious role as an optometrist harboring a fascination for an elaborate model train set that whimsically mirrors both Holland’s reality and its fantasy. Here, the theme of artifice re-emerges: is this scaled-down utopia merely a façade, much like the life Nancy curates? Yet, these thematic veins remain largely unmined, resulting in a narrative burdened by missed opportunities.
Set against the backdrop of the year 2000, replete with nostalgia-tinged musical cues and the clunky technology of yore, “Holland” kicks off with Nancy suspecting the babysitter, Candy (Rachel Sennott), of nefarious acts—an earring, perhaps? Her suspicions spiral further when Fred’s business trips provoke doubt, leading her down an awkward investigative path in tandem with a colleague, Dave Delgado (Gael GarcÃa Bernal). Yet, their rapport hints at deeper undercurrents, straddling the line between inquiry and attraction without ever plunging into the emotional depths that could have been.
Kidman’s Nancy becomes something of a suburban enigma—an embodiment of the quest for perfection, forever ensnared in a web of duty and desire. She dances on the edge of becoming a fully-formed character demanding our attention, yet her portrayal, pregnant with potential, remains frustratingly muted. Macfadyen’s Fred and Bernal’s Dave fall flat—mere shadows meant to navigate the crevices of Nancy’s tumultuous psyche, rather than characters with independent agency.
The film does offer moments that provoke unease, but alas, they arrive too late, falling short of leaving a lasting impression. “Holland” explores the tragic masquerade of human existence—people veiling their truth behind the facades of idyllic domesticity or whimsical celebrations like Tulip Season. The film’s fundamental flaw lies in its reluctance to pierce through these layers, leaving us yearning for deeper revelations that remain tantalizingly out of reach.
This review was crafted during the world premiere at the SXSW Film Festival and will debut on Prime Video on March 27th.
