Unwrapping the Complex World of Modern Love in "Materialists"

If you had reservations about Celine Song's "Materialists", don't let them hold you. Song, well-known for her remarkable "Past Lives", ventures into romantic comedy territory without losing sight of the complex and nuanced storytelling we've come to appreciate from her past work.

"Materialists" starring Dakota Johnson, is humorously insightful and critically engaging. Johnson's character, Lucy, is a successful matchmaker in high-end New York, weaving through the complexities of love and partnership in a city renowned for its competition. The portrayal of matchmaking and romantic pursuit as real, demanding work, rather than an Austen-esque whim, sets the stage for an engaging exploration of self-worth and love in a modern, capitalistic world.

Song's script delves into the peculiarities of human desires in dating. Whether it's a man's insistence on physical attractiveness and youth, or a woman's listing of high-achieving benchmarks, everyone, it seems, is searching for their "unicorn". This search, as essayed through Johnson's skilled performance, shows us the subtle calculations involved, as she seeks a partner who is smart, handsome, fit, and rich, without being reduced to a mere gold-digger.

In a city divided by wealth, and in a profession driven by the isolation and rejection of its clientele, Lucy manages to find success. In one scene, she masterfully provides comfort to a bride having second thoughts. It's those scenes that subtly build context around Lucy's skill as a matchmaker, her empathetic prowess being her best asset.

As the movie progresses, the delicate balance of love, self-worth, and wealth is further tested as Lucy finds herself caught between Harry (Pedro Pascal), an affluent "unicorn" and John (Chris Evans), her struggling actor ex-boyfriend. Lucy grapples with the allures of being courted by Harry's wealth and the grounded reality of her past with John.

Despite its romantic comedy facade, "Materialists" removes the gloss, grounding itself in reality. It offers a provocative look at the transactional aspects of partnering in a world where wealth and attractiveness are commodities. In doing so, it lands well-aimed critiques about increasing one's worth and subtly references the presences of cosmetic procedures.

The real heart of the film, however, lies in its exploration of self-worth and value within personal and professional relationships. In a powerful concluding scene, Sophie (Zoë Winters), a disappointed match, calls Lucy, a "pimp," sparking Lucy's introspection of her role in people's search for love.

In "Materialists", Song shows her prowess as both a writer and director, balancing tone and pacing and eliciting strong performances from the cast. "Materialist" mirrors its predecessor "Past Lives," transitioning from familiar streets of New York to the human heart with every frame.