New York, NY — The romantic comedy genre has long faced criticism for sidestepping the financial realities of its characters, often presenting a fantasy world where socioeconomic struggles are glossed over. From immaculate homes to seamless romantic encounters, these films tend to portray a blissful existence, neglecting the gritty details of economic hardship. Yet, in ‘Materialists,’ the latest film from Celine Song, a refreshing perspective emerges as characters reveal their financial standings in stark terms, shedding light on the interplay between love and money.
In ‘Materialists,’ Dakota Johnson stars as Lucy, a Manhattan matchmaker who earns a respectable $80,000 annually. Her romantic entanglement with Harry, played by Pedro Pascal—a wealthy private-equity investor living in a lavish $12 million apartment—begins at a wedding where Lucy’s former boyfriend, John (Chris Evans), serves drinks from his cramped apartment. This poignant love triangle not only explores the complexities of romance but delves into the financial disparities that often shape relationships.
Unlike many romantic comedies, ‘Materialists’ does not ignore the influence of wealth on love. Lucy articulates her viewpoint, noting that the institution of marriage has historically been as much about financial transactions as it has been about love. During her matchmaking consultations, she evaluates potential partners based on a calculated assessment of their attributes, from beauty and charm to financial stability. This focus extends to her dating life, as Lucy demands partners who can maintain her accustomed lifestyle, reflecting an unsettling truth about modern relationships.
The film cleverly parallels the love triangle with deeper themes of self-worth and societal status. Lucy’s past with John serves as a backdrop for her current romance with Harry, highlighting how personal insecurities and financial limitations can hinder one’s romantic prospects. While Lucy seemingly embraces a practical approach, it prompts audiences to question whether her rigid criteria for love truly align with genuine affection.
‘Materialists’ goes beyond simple character archetypes, presenting Harry as more than just a wealthy suitor. He wrestles with his own insecurities, striving to meet the expectations of a successful partner while dealing with the pressures of his affluent lifestyle. In contrast, John’s struggle as a struggling actor adds emotional depth, showcasing the harsh realities faced by those lacking financial security.
As the narrative unfolds, it becomes clear that the need for personal growth lies not with the male characters, but with Lucy. Her transformation from a profit-driven matchmaker to someone more attuned to the essence of love is pivotal, though the journey feels somewhat contrived. A significant plot twist involving a traumatic event serves as a catalyst for this change, raising ethical questions about the authenticity of her evolution.
Visually, ‘Materialists’ captivates with its stunning cinematography and an eclectic soundtrack that enhances its emotional resonance. The film’s aesthetic complements the storyline, drawing viewers into a world where romantic aspirations collide with economic realities. Lucy’s enviable fashion sense and the film’s vibrant palette serve to reinforce its thematic elements while captivating the audience’s visual senses.
Johnson’s performance as Lucy encapsulates the complexities of modern womanhood. She exudes charm and allure, embodying the multifaceted nature of a “luxury good” in today’s dating landscape. While Pascal and Evans bring their own charisma to the screen, viewers may find themselves pondering whether the film’s portrayal of love can coexist with the harsh realities of financial inequality.
Ultimately, ‘Materialists’ challenges its audience to consider the intricate dance between romance and economics. The movie straddles the line between satire and heartfelt narrative, posing the eternal question: who should Lucy choose? The film leaves audiences engaged with its bittersweet ending, reflecting the multifaceted nature of human connections, while also hinting at the discomfort of evaluating worth in monetary terms. In doing so, ‘Materialists’ elevates the romantic comedy genre, demonstrating that love, while often idealized, is irrevocably intertwined with the complexities of life.