Celine Song, the acclaimed director behind the Oscar-nominated Past Lives, returns with Materialists, a romantic drama set against the backdrop of modern dating in New York City. Starring Dakota Johnson, Pedro Pascal, and Chris Evans in a high-profile love triangle, the film delves into the transactional nature of relationships in a world often dictated by financial value. However, despite a compelling premise and moments of sharp observation, the film ultimately struggles to make its central romance cohere, leaving the audience feeling that, much like the characters’ own calculations, the “math doesn’t quite add up.”
Dating in a Material World: A Cynical Equation
Materialists centers on Lucy (Dakota Johnson), a cynical high-end matchmaker working for a company called “Adore.” Her job involves evaluating clients as “human portfolios,” reducing potential partners to checklists of physical and financial attributes. In this world, success in romance is measured in capitalistic terms: singles are assessed for their “competitiveness” in “the market,” highly desirable individuals (wealthy, attractive, young) are dubbed “unicorns,” and relationship compatibility is treated like an equation that simply “has to add up.”
Song effectively captures this contemporary anxiety, which resonates in dating discourse today. A standout scene features a wealthy client, Charlotte, on her wedding day, confessing she chose her husband largely to make her sister jealous, realizing he primarily makes her “feel valuable.” This moment highlights how progressive values often clash with the persistent societal and internal pressure to partner up for financial security, suggesting the urge to lean into heteronormativity might come from within (“the call is coming from inside the house”).
A Familiar Love Triangle with Less Spark
The narrative shifts to Lucy’s own romantic entanglement, a dilemma pitting two financially disparate men against each other. On one side is Harry (Pedro Pascal), a charming, wealthy private equity executive who is a certified “unicorn” in the dating world. On the other is John (Chris Evans), Lucy’s less affluent ex-boyfriend, a cater waiter pursuing acting. Their history is fraught with financial tension; a flashback reveals Lucy’s frustration over John’s monetary limitations contributed to their initial breakup, marking a turning point where she seemingly prioritized security over emotional connection.
While Past Lives cleverly subverted the traditional love triangle structure to explore complex themes like migration and fate (inyeon), Materialists largely adheres to a more predictable romantic comedy formula. Song, a former playwright, infuses the structure with a languid, moody tone rather than typical screwball energy, complemented by a downbeat score and song choices like the original Japanese Breakfast track that adds an ethereal touch to the film’s longing themes.
However, the film’s biggest hurdle is the lack of palpable chemistry between Dakota Johnson and her co-stars. Unlike the potent connection conveyed in Past Lives, the central romance here feels distant and unconvincing.
Where the Script and Performances Falters
Part of the issue lies in the screenplay’s depiction of Lucy’s internal conflict. Torn between her desire for a luxurious life and a yearning for genuine passion, Lucy’s true level of attraction to either man remains frustratingly “inscrutable.” With Harry, she fixates on his wealth but strangely tries to push him away by suggesting he could find someone younger and “better.” With John, she actively sabotages their connection by highlighting her negative traits, labeling herself “cold” and “awful” due to her obsession with money. While this shows self-awareness, the script forces her towards a resolution that feels unnatural.
Adding to the narrative struggles are seemingly ill-conceived plot devices. A B-plot involving a tertiary character’s misfortune feels shoehorned in as a catalyst for Lucy’s potential “redemption” or romantic clarity. Furthermore, the inclusion of sexual assault as a plot point has been noted as poorly handled, used merely to drive character development rather than being explored with appropriate depth.
Dakota Johnson’s performance, while effective in capturing Lucy’s “icy aloofness” during work scenes (particularly in amusing montages depicting clients’ unrealistic demands), struggles to convey the necessary vulnerability or emotional depth needed for the character’s internal turmoil and romantic arcs. The contrast is stark when compared to the emotional heat generated by the leads in Past Lives.
However, Pedro Pascal shines as Harry. Despite being the wealthy suitor, Pascal injects surprising magnetism and depth into the character, making him consistently interesting and occasionally hinting at a universal need for connection regardless of wealth. Some critics have even suggested the film feels like “Pascal’s triangle” due to his performance dominating the dynamic, in contrast to Chris Evans’ John, who can feel like an underdeveloped “starving-artist stereotype.”
A Time Capsule, Not a Compelling Romance
While Celine Song’s intention to dissect the complex interplay of love and money in contemporary dating is evident and timely, the execution falls short. The film clearly speaks to the anxieties of a specific demographic wrestling with these questions, potentially serving as a valuable “time capsule” akin to films like Girlfriends or Crossing Delancey for previous generations. Yet, its predictable structure, inconsistent script, and a central romance lacking spark prevent it from succeeding as a truly compelling or “swoon-worthy” romantic drama.
Ultimately, Materialists offers thought-provoking observations on modern relationships but fails to translate them into a dramatically satisfying or emotionally resonant cinematic experience. The numbers might be debated on screen, but for this film’s formula, the final sum doesn’t quite equal success.
