Materialists (2025) Review

It’s no secret that, despite the Digital Revolution’s best efforts, modern society has never been lonelier. Some argue our personal lives are merely reflecting our political moment; after all, what does it mean to really, truly connect with someone when so much of our lives are mediated by screens? Coupled with the rise of AI and more outright propaganda, it’s clear why we’re increasingly unable to differentiate the real from the unreal, and why genuine vulnerability is met with cynical skepticism. It’s in this emotionally unavailable milieu that Celine Song’s latest offering finds audiences. Professional matchmaker Lucy’s classic dilemma of choosing between the rich, suave Harry or down-and-out-actor John takes audiences on a journey, ultimately leaving them with the understanding that love is about more than checking boxes.

It’s hard to discuss this film, partially because it almost feels like it’s from a different time, calling back to the heyday of romantic comedies. I’m a sucker for this genre, and we hardly see these in theaters anymore. Sure, the dialogue is stiff, at times inconsistent with the characters—but that’s part of the charm this specific kind of filmmaking has to offer. It’s less a matter of realism than it is moving beyond the realm of believability to uncover something fundamental about human nature. People are comfortable with art films or action flicks not having the most natural dialogue in the world, so I’m unsure why we can’t offer rom-coms the same grace—especially considering how intentionally the film calls on classic generical tropes.

Questions of class are canonically omnipresent, and are here employed very thoughtfully. Lucy's in debt, slaving for a wage that barely covers her bills. Maybe that's why she's constantly thinking of love as a transaction, doing math on height and salary. I appreciated the recognition of how socioeconomics impact our ability to love and care for each other and ourselves. Song has mentioned how her time working as a matchmaker showed her how people constantly objectify and commodify themselves, focusing on shallow things that don't ultimately matter. Such dehumanization feels microcosmic for larger systemic questions that loom over the dangers of dating under patriarchy. That being said, I do think the script could have been structured with more balance. We only get one flashback to when Lucy and John were together, whereas we see Lucy and Harry’s entire relationship take shape. While this doesn’t necessarily impact where our sympathies are pulled, it does create an imbalance onscreen that perhaps keeps John’s storyline at bay longer than it should. The visuals are just as perfectly flawed.

            Despite being filmed in 35mm, I found a lot of this movie to have the sleek, over-polished look of a Hallmark flick in some scenes. While cinematographer Shabier Kirchner made great use of still, wide shots showing characters practically engulfed by their surroundings—the modern human condition—there were some camera movements that didn’t seem particularly motivated, and I do think a lot of sequences relied on center framing perhaps too often.  But whatever gripes one may have with the visuals, there’s no denying the power of Daniel Pemberton’s music. His use of the piano in certain key moments adds a vulnerable intimacy that crafts a phenomenal emotional experience, bringing us closer to the characters and heightening the emotional stakes without taking over the film. None of this, of course, would matter if the acting wasn’t top-notch.

            Dakota Johnson does a great job in the lead. Using the flat affect that made her Madame Web (2024) performance meme-famous, her line delivery elevates some bits of dialogue to iconic levels this time around. It adds a kind of comedic relief that prevents the film from taking itself too seriously, which really works in some scenes, and really doesn’t work in others. Pedro Pascal does a good enough job as Harry, showing some impressive comedic timing; but to me, the real standout here is Chris Evans. Delivering what I consider to be a career-best performance. He embodies John with such organic tenderness, it’s absolutely incredible what he can communicate with his eyes, with a small gesture.

            Song has clearly grown in her craft, building upon Past Lives (2023) by providing a more clearly-envisioned world, spending less time communicating backstory to instead ground us in the present tensions of these characters. It’s one of those rare movies whose imperfections are what make it so enjoyable, with a score that resonates and a cast that commits to every scene. I dare say this is the best romantic comedy in recent memory, and it’s in theaters today! See it on the big screen while you can.