Dakota Johnson and Anne Hathaway Share a Kiss in Thriller Verity, Highlight Psychological Dynamics
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- Dakota Johnson dan Anne Hathaway terlibat adegan ciuman dalam film thriller psikologis Verity, yang juga dibintangi Josh Hartnett.
- Para pemain mengaku suasana di lokasi syuting tetap santai meski tema film gelap dan penuh ketegangan.
- Film ini diharapkan memicu perdebatan penonton tentang siapa antagonis sebenarnya dan bagaimana persepsi memengaruhi keyakinan.

Dakota Johnson and Anne Hathaway had no problem doing a kissing scene in their latest film, Verity. The two star in the psychological thriller alongside Josh Hartnett, and revealed that working together on set was enjoyable despite the story's dark tone.
In an interview with Extra, Hathaway revealed that the three of them kiss each other in several scenes. Johnson chimed in jokingly, "I would kiss Annie every day for the rest of my life! If you need me, I'm there." Hathaway, 43, also highlighted the popularity of Hartnett, 48, saying, "You have every woman in the world wanting you."
Although the film tackles heavy themes, the three said they stayed relaxed between takes. Hartnett stated, "We had a fun working relationship the whole time on set... For such an intense and dark film, we actually laughed a lot. We really had a good time." Hathaway added, "It's a sexy thriller, but between takes we were just friends."
In Verity, Hartnett plays Jeremy Crawford, who hires writer Lowen Ashleigh (Johnson) to complete the book series of his wife, Verity (Hathaway), who has fallen ill and can no longer walk or speak. The three hope the film leaves questions and sparks debate among viewers.
"It's like a mirror strategy. You look into one mirror and think you see one thing, but it actually reflects something else. It's very hard to understand what the truth is. The experience of watching 'Verity' is not just questioning what you see, but also why you tend to believe certain people over others."
โ Anne Hathaway
Hartnett joked that he hopes audiences leave the cinema debating their perspectives, perhaps even having a small argument. Johnson added, "Throughout the film you wonder who the villain is. That's really fun. I think audiences are tired of being spoon-fed information and told what to believe. So, it's better to let people decide for themselves which story they want."
For the Indonesian film industry, the success of Verity in the global market could serve as a reference for production houses in developing psychological thrillers that demand viewers think critically. Such films have the potential to drive online discussion that expands marketing reach, while also challenging local filmmakers to explore non-linear narratives and moral ambiguity.
Looking ahead, will films with complex plots and open endings like Verity become increasingly popular with Indonesian audiences, or will they be seen as too confusing? Time will tell, but one thing is clear: this approach offers an alternative to stories that spell everything out.



