Materialists: A Cynical Treatise On Modern Love

In 2023, Celine Song broke out onto the scene with Past Lives, picking up immense critical acclaim and awards attention, resulting in Oscar nominations for Best Picture and Best Original Screenplay. Now, two years removed from her breakthrough film, Song returns with Materialists, a cynical treatise on modern love. While the same critical adoration may not be in play for her latest effort, due to its messier structure and somewhat jarring tone, the film is certain to linger longer in one’s memory in a way that Past Lives never could. Similar to that film, Materialists is anchored by some great performances and a script that is bound to connect with the hearts of audiences. Its representation of modern dating through the lens of a matchmaker service is no different than through popular dating apps such as Tinder and Hinge, and Song’s cynicism towards this generation of matchmaking seeps through every scene. There is a rich criticism of the lives of its characters which may undercut its romance for some, but for others, it will make for one of the more memorable romance films in years.

Materialists centres around Lucy (Johnson), a high-end matchmaker for the elite of New York City and a hot commodity. Chief to her success is her examination of her clients’ stature, build, and most important, their material values. Dating in the film is portrayed as a transaction of material wealth, a luxury that excludes those who cannot afford such an expensive facade. At the wedding of one of her clients, Lucy runs into the groom’s brother Harry (Pascal) and quickly pens him as quite the catch for her service. Amidst this sales pitch, the two are interrupted by John (Evans), Lucy’s ex-boyfriend and aspiring actor working catering shifts to make ends meet. As new and old bonds spark, Lucy must navigate what love and dating mean for herself within the current romantic landscape, all the while finding consistency in her job and client relations.

Despite how it sounds, the film is more of a character drama than a romantic comedy, all the noise of Materialists bringing back the romcom genre are all for naught as Song, instead, utilizes the structure of a romantic comedy to deconstruct contemporary love and the values that permeate through material dating. This isn’t to say there is not any humour to be had, as it finds some decent humor through Lucy’s interviews with prospective clients; these moments are also where the film’s satire really finds its footing, identifying the vanity that lies at the root of dating.

At the core of the love triangle lies the three performances from Johnson, Evans, and Pascal, with the first two offering up the best performances of the film. Firstly, Johnson delivers what is arguably a career-best performance as the cynical and materially driven Lucy, utilizing all of her greatest elements as a performer in a role that feels written for her exclusively. Meanwhile, Evans shines in his best performance since Knives Out as Jack, playing a down on his luck (poor) actor unable to let go of the past. However, Pascal is the odd man out in comparison to the other performances as Harry. He simply feels muted and miscast with a few standout moments for par. Pascal’s performance, while a tad dull, does feel entirely intentional in how it is in lock step with the film’s pace and rhythm alongside the New York elites being more alien in the film, in stark contrast to the rich humanity seen through Evans’ performance.

In the end, Materialists is a strange film in a way that is somewhat difficult to put into words. Though the film looks good, albeit somewhat commercial, its performances are great but at times stiff and its script is cutting yet messy; but all these issues ultimately work to its benefit by matching its thematic elements with technical decision and ability. Swipe right on Materialists as soon as possible!

Score: 84/100

*still courtesy of VVS Films*

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Brad Simon

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