Celine Song, the acclaimed director behind the Oscar-nominated Past Lives, returns with Materialists, a film poised to challenge conventional expectations of the romantic comedy genre. While some trailers might hint at a lighthearted love triangle, Song’s sophomore feature is a more nuanced, bittersweet, and deeply observant exploration of modern relationships that grapples seriously with the complexities of love, money, and personal aspirations.
For many cinephiles, the term “rom-com” itself feels like a reductive label, an industry shorthand that diminishes a genre capable of profound insight, as seen in classic films by masters like Ernst Lubitsch or Preston Sturges. Materialists aims to reclaim the genre’s potential for meaningful commentary, even as it deviates significantly from the predictable beats of typical contemporary romantic comedies that often prioritize slapstick and contrived drama over genuine human connection.
Indeed, some critics argue that despite its romantic premise, Materialists isn’t a traditional romantic comedy at all. They point to a lack of classic rom-com elements like witty banter, strong on-screen romantic chemistry in key moments, or predictable dramatic arcs. Instead, the film reportedly adopts a structure closer to film noir, employing archetypes like a cynical protagonist (the matchmaker), a “case” that changes everything (a pivotal client or encounter), and even elements akin to a femme fatale. Director Song herself has cited noir structure as a key influence, using its inherent tension and character archetypes within the framework of the matchmaking world to create a unique narrative rhythm.
At the heart of Materialists is Lucy (Dakota Johnson), a highly ambitious and often brutally honest New York matchmaker working for a high-end agency. Lucy’s job is to find partners for wealthy clients based on often superficial and materialistic demands. Her clientele openly prioritize physical appearance, height, and, perhaps most significantly, financial status. Clients might seek a partner with a salary over $500,000, insist on specific age ranges, or even political affiliations. Lucy approaches this process like a business deal, focused on finding “value” in a person’s tangible attributes, advising clients that “Marriage is a business deal, and it always has been.” This candid dialogue reflects Song’s own experience working as a matchmaker, witnessing clients reveal surprisingly blunt desires.
The film contrasts this transactional world with Lucy’s own complicated love life. She finds herself caught between two men representing vastly different economic realities: Harry (Pedro Pascal), an extremely wealthy private equity investor who is genuinely interested in her, and John (Chris Evans), her charismatic but underemployed actor ex-boyfriend. Lucy previously ended her relationship with John partly due to financial instability and now grapples with her own desire for material comfort—even admitting a personal wish to marry someone “painfully, achingly rich”—while navigating a lingering emotional connection with her past.
Materialists uses this triangle not for typical romantic conflict, but to explore deeper questions about materialism versus authentic connection. The film delves into the pressures faced by contemporary individuals, particularly women, balancing increased autonomy with persistent societal and financial expectations. It touches upon the yearning for comfort and beautiful things, even as it critiques the commodification of relationships in pursuit of them.
The narrative also incorporates elements reminiscent of the “comedy of remarriage,” a genre where estranged couples reconnect after exploring other options. Song updates this structure for the modern era, using it to reflect on how far society has come in terms of relationship choices, while acknowledging that financial considerations and the desire for security remain powerful forces.
While not a laugh-out-loud comedy, the film finds humor in the bluntness of the dating market and occasional absurdities, alongside moments of genuine poignancy. It reportedly tackles darker themes too, such as the potential ugliness within the high-stakes dating industry, though some reviewers have questioned the narrative effectiveness of certain dramatic subplots.
The cast is central to the film’s success. Dakota Johnson receives particular praise for embodying Lucy’s complex mix of ambition, vulnerability, and emotional guardedness with a “breezy and matter-of-fact” quality. Chris Evans brings originality to the role of the charming, struggling artist, and Pedro Pascal captures Harry’s winsome desirability while hinting at the potential complications beneath the surface.
Ultimately, Materialists is less concerned with delivering a predictable romantic fairy tale and more with presenting a clear-eyed, intelligent look at the compromises and realities of finding partnership today. It’s a film of “question marks, not sure bets,” reflecting the inherent risks and complexities involved in long-term commitment in a world increasingly driven by material metrics. By taking modern love and dating anxieties seriously, Song’s film offers a unique and insightful perspective on the enduring human search for connection in a materialistic age.
References
- time.com
- <a href="https://www.huffpost.com/entry/materialists-movie-reviewn684b3292e4b07750fb81b1cf”>www.huffpost.com
- www.theringer.com
- nofilmschool.com
- www.npr.org
