Celine Song’s Materialists is a sparkling romantic drama that reaffirms her status as a visionary film maker. As a writer, director, and producer, Song delivers a film that feels like a singular, cohesive expression of her creative soul, a hallmark of filmmakers like John Krasinski and the Philippou brothers, whose ability to helm their own projects ensures an uncompromised vision. Materialists is a testament to this approach, blending wit, heart, and a razor-sharp commentary on modern love with an execution so precise it feels like a love letter to the genre itself. From the vibrant streets of New York City to the lush 35mm cinematography, every frame is delivered with intention, proving Song knows exactly what she wants—and how to deliver it.
At the heart of Materialists is Dakota Johnson as Lucy, a matchmaker whose professional judgement in pairing wealthy New Yorkers is matched only by her personal indecision in love. Johnson delivers a career-defining performance, infusing Lucy with a blend of sharp cynicism with vulnerability that makes her relatable to viewers. Song’s script, inspired by her own brief stint as a matchmaker, gives Lucy a depth that transcends the typical heroine. She’s not just choosing between two men—Pedro Pascal’s suave financier Harry and Chris Evans’ scrappy, endearing John—but grappling with what love means in a world obsessed with status and material worth. The authenticity of Lucy’s journey, drawn from Song’s own experiences, grounds the film in a way that feels current.
Song’s direction is nothing short of mesmerizing. Shot on 35mm, the film captures the city’s romantic allure. Song’s ability to craft such visually and emotionally resonant moments recalls the meticulous storytelling of filmmakers like The Phillipou Brothers, Jesse Eisenberg, Zach Braff and John Krasinski, where every detail serves the narrative. The result is a film that feels alive, each scene brimming with purpose and heart. The chemistry among the leads is electric, with Chris Evans stealing scenes as John, a broke actor whose earnestness and humor make him an irresistible underdog. Evans, shedding his superhero polish, brings a lived-in charm that makes John’s chaotic apartment and relatable insecurities feel like a warm embrace. Pedro Pascal, as the wealthy Harry, exudes charisma, yet Song ensures he’s more than a one-dimensional “perfect match.” Their performances, guided by Song’s direction, elevate the love triangle beyond cliché, offering a fresh take on the genre’s tropes.
What sets Materialists apart is its fearless exploration of love as a transaction, a theme Song weaves with both humor and tragedy. The film doesn’t shy away from the economic realities of modern dating, where height, income, and status often outweigh emotional connection. Yet, Song never judges her characters; instead, she invites us to understand their contradictions. Lucy’s blunt declaration that she’ll only marry a wealthy man feels both shocking and honest, a reflection of a society where love is often quantified.
Materialists is both a sparkling rom film and a thoughtful meditation on value, identity, and connection, wrapped in a package that’s as entertaining as it is profound. It’s a film that dares to ask whether love can transcend material constraints while still delivering the butterflies that make the genre so beloved. Materialists is a triumph of filmmaking, a reminder of why I adore movies where the writer-director-producer trifecta creates such cohesive, personal story. It’s a movie that invites you to ponder your own values in love while basking in its undeniable charm, a film that reaffirms love’s messy, beautiful worth.
Materialists is out now at Luna Palace Cinemas.
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