Matthew Briody gives full credit in his review of Materialists.
The modern world of love and dating is delightfully deconstructed by Celine Song in her sophomore film. Tackling the transactional nature of twenty-first-century relationships, Materialists weaves a wonderful love triangle between Lucy (Dakota Johnson), Harry (Pedro Pascal) and John (Chris Evans). The film is drawn from Song's own experience. In her twenties, she spent six months working as a professional matchmaker in New York City to support her writing career.
Working as a successful matchmaker in New York City, Lucy is celebrating the ninth wedding of a couple she introduced. Surrounded by adoring clients and supportive friends at work, Lucy is content with the life she has made for herself. This seemingly ideal existence, however, is upended by the arrival of Harry, a dashing suitor who is more interested in a relationship with Lucy than in using her services. Adding to this intricacy is John, Lucy’s perfectly imperfect ex-boyfriend who remains in the periphery of her social circle. Caught between this charming new man and complicated relationship from her past, Lucy finds herself forced to choose between two.
Celine Song broke audiences’ hearts with her powerful debut feature Past Lives. Similarly to how her previous film focused on what might have been between two childhood sweethearts, Materialists walks a similar route examining the relationship between a pragmatist and a dreamer. In this dynamic, Song raises fascinating questions around security versus connection. Can we ever successfully recapture the magic of a past relationship with an ex? And if a relationship falls apart, can it really be put back together?
Song's script is equal parts witty and observational. With clear nods to old-fashioned rom-coms, complete with grand gestures and declarations of undying love, Song has stitched together her own unique love language, where the characters are more grounded in reality. One particularly memorable scene follows a dinner date between Lucy and Harry. There she breaks down the prospects of their relationship as if they are ones and zeros on a spreadsheet. This cold, rather practical exchange, contrasts to the heightened argument between Lucy and John in their car; their chemistry sizzles on screen as they quarrel.
Song's direction is precise and controlled, leaving enough space on screen for each character to be realised outside this romantic entanglement. Her framing choices go against the grain. In one beat, John calls a preoccupied Lucy. The lights emanating from the building behind him frame him in the centre of the scene. Instead of cutting between characters in key moments like this, Song' ensures the camera stays firmly on the actor, unyielding. The film's static wide shots build a sense of intimacy. These are beautifully lensed by cinematographer Shabier Kirchner, who previously collaborated with Song on Past Lives.
In terms of performance, this cast are right on the money. As the leading lady, Johnson is a breath of fresh air who billows through every scene. Her portrayal of Lucy imbues the character with the perfect balance of confidence and conflict, a woman whose determination is built on her inner struggles and insecurities. In the role of broke, struggling actor John, Evans makes for an endearing love interest. John's devotion to Lucy is tangible, and Evans portrays him with warmth and complexity. This conflicted creative is attempting to balance the weight of financial instability with his enduring affection for Lucy. Finally, man of the moment Pedro Pascal is suitably suave as Harry. Not only does he ooze charisma as an extremely eligible bachelor, Pascal also brings heart and humour in something of a surprising way. This trio makes for a marvellous ensemble.
While Materialists doesn't necessarily reinvent the rom-com, it certainly pays fresh dividends to the genre. This style of film is often written off reductively, and yet Song has created a truly modern love story. Blending strong writing, expert direction and a faultless cast, there’s no emotional debt when the credits roll. And with heartthrobs Chris Evans and Pedro Pascal finally sharing the big screen, this is one cinematic investment that pays off in full.
Materialists is in cinemas 15th August 2025.
