MATERIALISTS
Genre: Drama, Romance, Comedy
Directed by: Celine Song
Starring: Dakota Johnson, Pedro Pascal, Chris Evans
Release Date: June 13, 2025
Platform: Theatrical
Rating: 4/5
“Materialists flirts with various genres but is far more interested in unpacking the transactional truths of modern love.”
After her Oscar-nominated debut Past Lives, Celine Song returns with MATERIALISTS, a sharp and thought provoking second feature film that trades the poetic melancholy of first love for the messy, modern chaos of dating, desire, and economic pragmatism. Is this a sophomore slump for Song? No, but it’s also not the same quality follow up to Past Lives, and that’s okay.
Marketed heavily as a romantic comedy, MATERIALISTS flirts with various genres but is far more interested in unpacking the transactional truths of modern love. Yes, there’s romance. Yes, there are some genuinely funny moments. But this is a drama first, a romance second, and a comedy sprinkled throughout.
Dakota Johnson leads the film as Lucy, a high-end matchmaker navigating the elite dating scene of New York City. Johnson—who often gets written off for poor acting—delivers one of her most nuanced performances in MATERIALISTS. Lucy is polished, poised, and professionally gifted at crafting romances for others, even as she questions what she wants for herself. She isn’t lost or broken; she’s highly functional, financially independent, and emotionally self-aware, which makes her internal conflict all the more interesting.
Lucy finds herself at a crossroads when she becomes entangled with two very different men. Harry (Pedro Pascal), a near-mythical “unicorn” of a man who’s rich, intelligent, family-oriented, and everything on paper a woman could want. John (Chris Evans), an ex-boyfriend who’s broke, charming, and still sharing a dirty apartment with roommates as he chases an acting career far into his 30s. MATERIALISTS isn’t a traditional love triangle. There’s no tug-of-war, no bickering suitors fighting over a woman’s affection. It’s the woman weighing her own values—financial security vs. emotional history, fantasy vs. reality, and comfort vs. passion.
The film asks very pointed questions, while some are more subtle, others can be seen as overbearing. Is it shallow to care about money in a relationship? Can love exist without stability? Are we lying to ourselves when we say all you need is love? Song writes these themes with the clarity of someone who has seen behind the curtain. Surprisingly, Song herself worked as a matchmaker before becoming a filmmaker, which adds to the authenticity of that world.
Pascal and Evans play their roles well, though they’re ultimately in service of Lucy’s journey more than fleshed-out characters of their own. Pascal’s Harry is seductive but safe. Evans’ John is relatable but an ex for a reason. The male leads aren’t necessarily perfectly cast, but both were serviceable in supporting the true focus of the film, which is Lucy.
The script sometimes leans into heavy-handed dialogue, but most of it lands with a realism that feels pulled straight from therapy sessions or late-night conversations with friends. One subplot involving the dangers women face in the dating world feels a bit tacked on, but it’s a relevant detour—even if tonally jarring from the rest of the film.
Visually, MATERIALISTS is stunning. The cinematography echoes Past Lives with its clean framing and softness, but here it’s amplified to match the glitz and glamour of New York high society. A particular restaurant scene in the film is worthy of being frozen and hung in a gallery with its perfect lighting, color palette and intimacy within an open space.
Tonally, the film has some inconsistencies but none that derail the film as a whole. Where the real debate lies is in the ending. Some viewers will find it cathartic. Others may find it safe. Without spoiling it, let’s just say the resolution doesn’t play into typical audience expectations, which may frustrate those wanting a certain man to win in the end.
MATERIALISTS is a thoughtful, clever, and well-acted film that reflects the current realities of love, dating, and the societal pressures that shape our checklists. It’s not Past Lives but it’s not trying to be. Instead, Celine Song proves she’s not a one-hit wonder, but a filmmaker with a distinct voice and range. Awards season may overlook this one, but audiences shouldn’t. MATERIALISTS is a mirror. Hold it up and see what looks back at you.
