**Nicole Kidman Fronts Psychological Thriller *Holland*, But It Misses the Mark**
Nicole Kidman features in *Holland*, the newest work from Mimi Cave, following her psychological thriller *Fresh*. Set against the backdrop of a seemingly perfect town, the film delves into themes of American nostalgia before descending into a grim narrative of disillusionment and brutality.
Kidman’s portrayal of a suburban housewife may evoke memories of her role in *The Stepford Wives* (2004), while her character’s troubled marriage resonates with aspects of Halina Reijn’s *Babygirl*. Nevertheless, despite some captivating elements, *Holland* falters due to unclear direction and a sluggish pace. While the film suggests a Lynchian undertone of threat within its charming scenery, it never quite aligns into a unified piece.
### *Holland* as a Pre-9/11 Allegory
Upon initial viewing, *Holland* seems to be set in the 1950s, a time typically idealized for its conventional family ideals. However, screenwriter Andrew Sodroski strategically positions the narrative in the year 2000, subtly anticipating an upcoming national tragedy.
The town of Holland boasts a nostalgic allure, featuring its Tulip Time festival, wooden clog dancing, and wholesome family traditions. Nancy Vandergroot (Kidman) is the dedicated homemaker, making dinner for her optometrist husband Fred (*Succession*’s Matthew Macfadyen) and their young son Harry (Jude Hill). Their family activity—constructing a model train set—reinforces the façade of a flawless existence.
However, modern influences infiltrate the scene, including cellphones, mall culture, and *Mrs. Doubtfire* playing on their television. These details accentuate the tension between an idealized past and the looming present. This discord materializes when Nancy accuses her son’s tutor, Candy (Rachel Sennott), of theft, resulting in Candy’s sudden expulsion from their residence. Harry’s furious outburst—cursing his mother—shatters the illusion of their idyllic family dynamic.
Similar to Olivia Wilde’s *Don’t Worry Darling*, *Holland* features a protagonist who senses something amiss yet attempts to overlook it. Nancy endures unsettling visions of her son drifting away and strangers collapsing around her. While the film never overtly mentions 9/11, its setting hints at an approaching catastrophe that will disrupt the fragile sense of American stability.
### Nicole Kidman and Gael García Bernal’s Uneven Interaction
Nancy’s existence extends beyond domestic duties, as she teaches home economics at the local high school. There, she forms a friendship with fellow educator Dave Delgado (Gael García Bernal), a newcomer to Holland who lends an ear to her rising concerns about her husband’s fidelity. As she seeks clarification, she grows closer to Dave, uncovering a truth that will change her family forever.
While *Holland* aspires to satire, critiquing the polished veneer of small-town America, it lacks the incisiveness of its inspirations, such as *Blue Velvet*. The film’s visual style isn’t accentuated enough to captivate, and the chemistry between Kidman and Bernal feels off. Their exchanges lack the dynamic of a classic comedic pair, instead portraying two awkward individuals suppressing their mutual attraction.
This disconnect is particularly noticeable in a scene where Dave is confronted by a local drunk who hurls racial insults at him. Rather than stepping in, Nancy conceals herself to avoid being seen with another man. While this moment reveals both the town’s latent prejudice and Nancy’s timidity, it is brief and ultimately inconsequential.
### *Holland* Fails to Fulfill Its Aspirations
Despite its promising premise, *Holland* suffers from a lack of vitality. By the time the film reaches its climactic twists, it has already lost its steam. The major reveal, while anticipated, feels clichéd and disappointing. Instead of presenting a shocking psychological thriller, *Holland* resembles a Lifetime movie featuring A-list stars—absent the campy delight of something like *A Deadly Adoption*.
In conclusion, *Holland* does not measure up to its influences. The humor falls short, the horror fails to resonate, and the twists do not astonish. Much like a postcard, the film is aesthetically pleasing yet ultimately one-dimensional.
***Holland* debuted at the 2025 SXSW Film Festival and will premiere on Prime Video on March 27.**