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Dwayne Johnson to Star in A24’s Psychological Thriller ‘Breakthrough’

May 21, 2025 Jordan Ruimy

Dwayne Johnson ain’t kidding around. Last year, when the actor claimed he was going to focus on non-Blockbuster roles, some ridiculed him, but he clearly means serious business.

Following his upcoming collaboration on Benny Safdie’s “The Smashing Machine,” and nabbing the lead role in Martin Scorsese’s next film, Johnson is set to reteam with A24 for “Breakthrough.”

The film is a psychological thriller written by rising talent Zeke Goodman. There is still no directir attached. Johnson is reportedly locked in to co-star, signaling another intriguing pivot in his post-blockbuster career trajectory.

Set in early-2000s Southern California, Breakthrough centers on a disaffected young man who falls under the sway of a charismatic self-help guru—whose seductive presence hides a deeply manipulative streak and a darker agenda. Sources say Johnson is on board to play the enigmatic guru, marking a rare supporting turn for the star. Casting is still in progress for the lead and remaining roles.

It’s increasingly evident that Johnson, 52, is steering his career toward more grounded, dramatic territory. In an interview, last year, with Variety, he opened up about his shifting priorities: “I want to make films that matter, that explore humanity, struggle and pain […] I’m at this point where I want more. I don’t mean I want more box office. I mean I want more humanity.”

Johnson is undeniably a charismatic mainstream star, with natural screen presence and a playful energy—but his biggest issue has long been his taste in scripts. Despite his likability, he’s spent years coasting on formulaic projects that rarely challenge him.

For my money, Johnson’s standout performance remains in Michael Bay’s “Pain & Gain,” a grimy, pulpy romp through Miami’s bodybuilding underbelly that tapped into something raw and unfiltered.

← ‘Splitsville’ Review: A Hilarious, Beautifully Shot Tale of Modern Love [Cannes]‘The History of Sound’ Is Beautiful, But Barely Audible — ‘Brokeback’ Lite [Cannes] →

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