For many actors catapulted to global fame by a massive franchise like “Fifty Shades,” the temptation to follow up with more high-profile, commercially safe bets can be overwhelming. Not so for Dakota Johnson. Since hanging up Anastasia Steele’s silk scarves, Johnson has embarked on what can only be described as a quiet, yet deeply effective, rebellion against the typical Hollywood machine. Her weapon of choice? Thought-provoking, often challenging, independent films.
Johnson’s filmography post-“Shades” is a testament to her artistic integrity and a clear desire to explore the nuances of human experience rather than chase box office receipts. Consider her role in Luca Guadagnino’s “Suspiria.” A complete stylistic and tonal departure from the romantic drama that made her a household name, “Suspiria” saw Johnson immerse herself in a surreal, unsettling world of dance and horror. Her committed performance, embodying vulnerability and a growing sense of dread, showcased a range that few had anticipated.
This pattern continued with her work alongside the likes of Shia LaBeouf in “The Peanut Butter Falcon,” a heartwarming adventure film that allowed her to explore a more grounded, empathetic character. Then came “The Lost Daughter,” a critically acclaimed psychological drama directed by Maggie Gyllenhaal. Here, Johnson held her own opposite Oscar-winner Olivia Colman, delivering a performance that was subtle yet deeply impactful, further solidifying her reputation as a serious dramatic actress.
Most recently, “Cha Cha Real Smooth” saw Johnson not only star but also take on a producing role, a clear indication of her growing influence and desire for creative control. The film, a tender and humorous coming-of-age story, resonated deeply with audiences and critics alike, highlighting Johnson’s knack for selecting projects with heart and substance.
Dakota Johnson’s post-“Fifty Shades” career is a masterclass in strategic artistic development. By consistently choosing roles that challenge her and prioritize artistic merit over commercial appeal, she is not only crafting a formidable legacy but also redefining what it means to be a leading lady in contemporary cinema. She is, in essence, building her own “red room” – one filled with compelling narratives and fearless performances.
