If you found yourself questioning the quality of Materialists, given that it’s from the director of the captivating Past Lives but seems like just another generic rom-com – I bet you did – don’t worry, you can relax. Despite some misleading promotions, Celine Song, a playwright turned filmmaker, delivers a second feature that offers a thoughtful exploration of contemporary love, self-worth, and the struggles of dating in an expensive metropolis. Notably, it handles the three corners of a romantic triangle with equal depth and empathy.
In Song’s script, there’s plenty of discussion about unicorns in the dating scene, and her movie could very well be named after this – a polished, attractive drama infused with humor, self-reflection, and thoughtful intelligence. This narrative is as much propelled by clever writing as it is by the charm of its stars, particularly Dakota Johnson, delivering one of her finest performances since her role in The Lost Daughter.
In this role, Johnson portrays Lucy, an accomplished matchmaker at Adore, a prestigious New York-based firm that caters to affluent singles, providing them with the security of navigating the dating scene independently. Her profession evokes images of a charming Jane Austen character, but “Materialists” sets itself apart by portraying Song’s character as treating her job in the cutthroat world of dating seriously. This is particularly noteworthy given the high level of competition in such a city.
The creative filmmaker introduces an amusing starting point by setting the scene not in bustling Manhattan, but in a grand rocky terrain. Here, the only indications of life are a caveman returning from hunting and placing a simple ring on a woman’s finger who is waiting for him. If there happens to be a Cro-Magnon hairstylist hidden somewhere, then the neatly groomed beard may suggest otherwise, but this whimsical prelude appears to stem from someone deeply fascinated by marriage.
In the bustling cityscape of contemporary NYC, I’ve found that romantic connections often come with a twist. A recent instance with my dating service clients, Lucy, serves as a prime example. The two individuals she paired together, despite sharing the same initial spark, had vastly different expectations from their first date – a stark reminder of the chasm in partner preferences that can make or break a relationship.
The man firmly declares, “I wouldn’t match with a woman similar to her,” expressing his disappointment as he highlights areas where she didn’t meet expectations based on her profile description. However, Sophie (Zoë Winters) felt the date went exceptionally well. She’s taken aback to discover that she fell short of his standards, despite being prepared to disregard issues concerning his height, receding hairline, and income level. “I merely want the basics,” she expresses her frustration. “I’m attempting to find a lasting relationship!
Humorous consultations are occasionally interspersed, often from Lucy’s perspective, focusing solely on the client. There’s the typical portrayal of middle-aged men, who prioritize fitness (with a Body Mass Index below 20), attractiveness, and an age limit around 29. However, Song doesn’t favor one group, also presenting a similar number of women whose specific requirements noticeably reduce the potential client pool.
One example is Lucy, who appears content with her single status, as finding a man who is both intelligent, attractive, fitness-conscious, and earning over half a million dollars annually can be quite challenging. Such men, in Lucy’s social circle, are often referred to as unicorns. Johnson’s portrayal of Lucy is commendable due to her subtle approach, ensuring that Lucy isn’t portrayed as an unpleasant gold-digger, despite her pragmatic view on marriage, which she sometimes compares to a business deal where the conditions must be advantageous.
Despite seemingly challenging circumstances, she’s successfully arranged nine weddings for her clients, making her a standout at the all-female agency. This earns her the title of ‘star’ from her shrewd boss Violet (Marin Ireland), who notes that their ability to empathize with the loneliness and rejection faced by their clients gives them an edge over therapists.
Lucy is skilled at calming nervous brides before their weddings, as demonstrated by her recent triumph with Charlotte (Louisa Jacobson), who hesitated on her wedding day. In a humorous scene, Charlotte reveals the real reason for her hesitation to marry her fiance. However, Lucy takes this awkward admission and transforms it into a comforting affirmation of Charlotte’s worth and value.
At the very same wedding, Lucy finds herself captivated by none other than the groom’s brother, Henry (Pedro Pascal). While she’s subtly exploring potential clients, her gaze locks with him. Yet, it seems he’s less intrigued by her services and more drawn to her as an individual. A quick, playful conversation at the singles table reveals Henry to be a perfect blend of charm, intelligence, wealth, and elegance – a description Lucy herself labels as “a unicorn.” Intriguingly, he seems to grasp the complexity of her job as a matchmaker, never pressuring her clients but instead presenting himself as a desirable luxury: “If they can afford you, why not?
As Lucy and Harry seem to be getting along nicely, unfortunately, her former partner, John (Chris Evans), a struggling actor who works as a caterer, suddenly appears. Their brief chat during his break indicates that they still have feelings for each other. However, Lucy is a realistic person, reminding herself of an argument on their anniversary when they were struggling financially and unhappy. Since John hasn’t improved his circumstances much – he’s still driving the same old car and living in the same rundown apartment with two bothersome roommates – his appeal to Lucy remains minimal.
When Lucy begins dating Harry, it’s no issue, even if it garners some raised eyebrows from a fellow colleague at Adore over her removing a unicorn (symbolizing something unique and rare) from the dating market. However, Song skillfully avoids falling into typical romantic comedy tropes, instead portraying the allure – particularly in a city like New York with its vast wealth disparity – of fancy restaurant dates where the bill is effortlessly covered, flowers are abundant, the man owns a lavish penthouse, and casually asks about dream travel destinations, not as a hypothetical but an invitation. What makes the movie stand out is that these seemingly fantastical romantic elements remain surprisingly rooted in reality.
Perhaps drawing inspiration from Joachim Trier’s clever use of Harry Nilsson in the soundtrack for another movie that isn’t quite a rom-com, The Worst Person in the World, Song incorporates those romantic scenes with “I Guess the Lord Must Be in New York City,” one of several well-chosen musical cues. (Notably among them is the poignant duet between John Prine and Iris DeMent, “In Spite of Ourselves,” a song about love triumphing over differences with a touch of wit.)
As the film unfolds with Lucy grappling between two suitors promising contrasting paths ahead, it never feels overly straightforward. When Lucy informs Harry that he might find a 25-year-old, he expresses his desire for “non-tangible qualities,” rather than monetary riches, of which he already has ample amounts.
Song’s script shuns superficiality when discussing the business side of partnerships and the market-driven valuation of specific traits. It presents an honest perspective that is invigorating as the play “Materialists” delves into notions of personal worth and augmenting value – even through the apparent method of cosmetic surgery.
In some opinions, introducing a significant conflict – where an unexpected turn of events leaves Sophie in turmoil, leading Lucy to reconsider her beliefs about suitable partners and self-blame for not recognizing warning signs earlier – might seem like a forceful push towards resolution. However, it’s hard to dispute the impact of a powerfully acted scene between Winters and Johnson, culminating in an angry Sophie accusingly calling Lucy a procurer.
Each main character exhibits poignant moments of sincere vulnerability, fragility, and apprehension that enhance the story’s emotional intensity. Johnson portrays Lucy’s disenchantment as something profound and nearly painful, going beyond a moral dilemma; Pascal showcases the hidden sorrow and self-doubt beneath Harry’s polished exterior; and most notably, Evans encapsulates the central theme of the film when John grapples with feelings of worthlessness and disposability, his words echoing Sophie’s sentiments.
For beginners in filmmaking, Song’s skill as a writer is complemented by her exceptional directing abilities – striking a perfect balance between tone shifts and smooth transitions, eliciting remarkable performances from her actors, tastefully utilizing Daniel Pemberton’s soft, melancholic music score, and ending the movie on a delightful note that avoids excessive sentimentality.
This conclusion takes place on the steps of an apartment building, which subtly echoes the setting of “Past Lives”. Similarly, like its forerunner, “Materialists” maintains its identity as a New York film, a quality further emphasized by the vivid and clear images captured by cinematographer Shabier Kirchner.
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2025-06-09 16:25