Film Review – Materialists

June 18th, 2025 | POSTED BY Allen Almachar

Writer/director Celine Song’s follow up to her critical hit Past Lives (2023) once again explores the intricacies of love – the heartache, regret, nostalgia, missed opportunities and endless possibilities that come along with it. With Materialists (2025), Song aims to deconstruct the tropes of the romantic comedy. Starting with a formulaic premise and then digging under the veneer to find something more substantial, Song brings warmth and maturity to a story that would’ve been fluffy escapism two decades ago. Although it doesn’t reach the same peaks of her debut feature, Song re-establishes the notion that she is one of the premier voices in the genre. It maybe a little uneven in places, but it proves there are more paths to explore in this arena than some would believe.

It’s a bit disingenuous to call this a “romantic comedy.” Despite what trailers and advertisements would have you believe, Materialists operates closer to a drama. It doesn’t start out that way. We’re introduced to Lucy (Dakota Johnson), an ambitious New Yorker who excels as a matchmaker for love-seeking singles. There’s a throwback quality to her job. It’s a step beyond want ads in the newspaper, but it’s not as quick and convenient as a dating app. Lucy pairs her potential couples like a mathematical algorithm: Economic standing, personality, fitness, likes/dislikes, religious outlook, etc. Basically, she’s a real estate agent for romance. Some of the funnier sequences has Lucy dealing with people who all express what they want in a partner. The editing creates a montage of testimonies, a round-robin of people all sharing their preferences. It’s as though Lucy goes on the first date for the singles, getting all the “get to know you” questions out of the way.

It’s apparent that Song starts off this way to subvert the rom-com blueprint. Fairly quickly, the tone shifts in another direction, moving away from the comedic aspects to a more grounded and naturalistic approach. Some might argue that this creates a tonal imbalance. To be fair, those that were looking for a straightforward romantic comedy (which is a legitimate and fair expectation) will come away disappointed with where things go. The switch happens when Lucy, attending the wedding of her latest match, meets Harry (Pedro Pascal). Harry is suave, handsome, confident, wealthy beyond measure, and quickly develops an interest in Lucy. For her, Harry is everything she wants in a lover. Harry is a “Unicorn” in her profession – someone whose success, financial stability, and lack of red flags is a near impossible combination to find. So, it would make sense that Lucy would become immediately attracted to Harry. The problem is, at that very same wedding, she runs into her ex, John (Chris Evans). John is everything Harry is not – He is broke, a struggling actor, lives in a shabby apartment with sloppy roommates, and makes ends meet as a cater waiter. But John is also thoughtful, warm, and empathetic – the very qualities that made Lucy fall in love with him in the first place.

And so, we have the classic love triangle. Lucy gets stuck between the man that checks off all her boxes and someone she still maintains deep feelings for. In a lesser movie, the choice would be clear. To Song’s credit, she makes Harry and John decent guys. They both respect Lucy, and care about her feelings and drive. When she has something to say, they both listen intently. The problem is that, by making John and Harry good people, it also makes their differences more apparent. Lucy and John broke up because she hated resenting him for his lack of financial security. Well, here he is, back again and as broke as ever. Yet somehow, he poses a real possibility for Lucy’s love life compared to Harry, who is also a nice guy but offers the life she’s always wanted. Lucy caught between the two stretches believability a bit. Broke guys around the world will gain a new sense of hope after watching this.

Look, I get it: love doesn’t have a price tag. The entire point of the title Materialists suggests that romance goes beyond our material possessions. A large bank account, luxurious cars, and fancy homes mean nothing when it comes to matters of the heart. But the narrative does not do a good enough job convincing us of Lucy and John’s connection. We get one flashback of them having an argument while driving around the city looking for parking. The staging of the scene, with the two of them stepping out of the vehicle to argue in the middle of the street, is the most awkward sequence in the whole movie. We don’t get enough reason to believe that she would want to get back with the guy. Sure, John is a charming dude, and Chris Evans gives one of his best performances, but we aren’t convinced that (if they do get back together) they won’t end up right back on that street arguing again. 

The scenes I was most drawn to were the ones involving Lucy and Harry. Maybe because their interactions encompass that “butterflies in the stomach” feeling of new romance, Lucy and Harry (and in turn, Dakota Johnson and Pedro Pascal) showcase palpable chemistry. The best scene features a conversation the two have in a restaurant. Lucy details all the reasons why Harry is perfect for someone else besides her, with him responding with all the reasons why they should be together. The performances keep us glued to every word. They speak plainly and frankly, juggling dialogue with ease. It’s as though with every sentence, we see Lucy’s walls start to deteriorate, slowly believing that this guy might be the “Happily Ever After” she’s been searching for.

The production design conjures New York City with beautiful aesthetics. This is the NYC featured in the classic rom coms of the ‘30s, or the one exuding the romanticism of early Woody Allen films. From the tall skyscrapers, the openness of Lucy’s workplace, to the restaurants, bars, and Harry’s apartment, everything looks like it was pulled out of a tourist magazine. Even the places we visit with John has a kind of appeal to it. The hole-in-the-wall theater he performs in is small but intimate. Sure, his apartment is a dump, but it’s the kind of dump one would brag about when they got older. It’s a place where the phrase “If you can make it in New York, you can make it anywhere” was created for. The cinematography (Shabier Kirchner) places the camera in medium wide shots, allowing the actors and environments to work hand in hand with each other. When Lucy makes a phone call while sitting in front of Harry’s book collection, the vastness of the shelves overwhelms her. The balance between all the stuff behind Lucy creates an effect where she, initially believing wealth can lead to happiness, is right inside of her element.

Materialists is not perfect. A side plot involving one of Lucy’s clients having an abusive dating experience feels like it belongs in a different movie. The narrative also lacks the longing and emotionality that made Past Lives one of the best films of its given year. But even with all that, I still found this to be an engaging and thoughtful experience. Celine Song takes material that has been well covered and breathes new life into it. She understands that love stories aren’t something to be dismissed, but that deserve as much attention and artistry as any other genre. I may not have been won over by every choice, but I was glad to have gone through the journey. 

A24, Celine Song, Chris Evans, Dakota Johnson, Featured, Materialists, Past Lives, Pedro Pascal, Shabier Kirchner, Woody Allen