Let’s be honest—at some point, every guy has been hit with the classic debate: would you rather marry for love or for money? It’s a loaded question that’s been around forever, tucked into the subtext of every romantic comedy and whispered behind the polite smiles at weddings. And in Celine Song’s new film Materialists, she tackles it head-on with all the nuance and nerve you’d hope for.
Coming off the emotional resonance of her 2023 debut Past Lives, Song doesn’t repeat herself here. Instead, she switches gears, but not completely. Materialists is still soulful, still romantic, but it’s also funny, sharp, and brimming with the energy of modern city life—specifically New York City. Imagine if a Jane Austen heroine got dropped into the concrete jungle with a smartphone, a designer wardrobe, and a full client roster of rich singles. That’s the vibe.
But don’t let the trailer fool you. This isn’t your typical glammed-up rom-com. Yeah, it’s glossy. Yeah, it’s full of stunning people in ridiculously curated outfits. But there’s a weight beneath all the sparkle. Materialists isn’t interested in just playing dress-up. It wants to dig into the consequences of choosing comfort over connection—or vice versa.
Meet Lucy: Matchmaker with a Mission
The story revolves around Lucy, played by Dakota Johnson, who, let’s be real, was born to play this kind of role. She runs an elite matchmaking service, where she pairs New York’s wealthiest with their ideal romantic partners. She’s polished, perceptive, and totally in control—or at least that’s what she tells herself.
What’s fascinating about Lucy is that she’s fully aware of the game she’s playing. She sells the fantasy of true love, yet personally believes marriage is a financial arrangement more than anything else. It’s not a cynical worldview so much as a pragmatic one. She’s smart, experienced, and tired of pretending the world isn’t transactional.
The film kicks off with one of those extravagant New York weddings—Lucy’s ninth successful match. There’s champagne, string quartets, and fairy lights strung over every inch of the reception. It’s here we get our first glimpse into Lucy’s duality: the romantic event planner dressed in designer clothes, who secretly believes none of this really matters unless it’s financially sustainable.
This is where we meet Harry—played by Pedro Pascal, who oozes effortless charm. He’s the brother of the groom, he’s filthy rich, and he’s immediately intrigued by Lucy. Their chemistry is casual but electric, and Lucy sees him the way a scout sees a first-round draft pick. The kind of man who checks every box on her clients’ wish lists: tall, handsome, loaded, and somehow emotionally available. The perfect “catch.”
She tells him, rather directly, that she’s only interested in marrying for money. He doesn’t flinch. Instead, he asks her out.
Classic bait and switch, right? Just when you think we’re headed for a fairytale meet-cute with a billionaire, in walks John—played by Chris Evans like you’ve never seen him before. He’s not the polished version we’ve come to expect. He’s scruffy, broke, and working as a cater waiter at the same wedding. But the second he locks eyes with Lucy, you know the history runs deep. And from the look on her face, it’s clear: this is the guy who broke her heart—or maybe she broke his.
Cue the love triangle.
The Two Sides of the Heart
What makes Materialists tick is how well it sets up this internal war within Lucy. On one hand, she has Harry—the obvious choice. The man with money, power, and zero red flags. On the other, there’s John—the man she loved, lost, and maybe never got over. He’s struggling, yes. But he sees her in a way Harry never could.
Most films would make this a simple dilemma: one guy is good, the other’s a jerk. Easy. But Celine Song doesn’t do easy. Both men are solid. Both genuinely care about Lucy. There’s no villain in this love story, which somehow makes it harder to watch. You’re not rooting against anyone. You’re rooting for clarity.
Evans, in particular, brings a subtle vulnerability to John. It’s a side we don’t often get to see from him, and honestly, it’s some of the best acting he’s ever done. He’s not trying to be the perfect man—he’s just trying to figure out if the door to that old relationship is still cracked open.
Their scenes together, especially on a road trip sequence later in the film, are full of aching nostalgia. They bicker, they flirt, they reminisce. And you start to see why they worked once upon a time—and maybe why they didn’t. But you also see that the embers never really died.
Underneath the Surface Sparkle
For a movie that feels so visually elegant—thanks in large part to costume designer Katina Danabassis—it’s surprisingly raw emotionally. It’s like watching two people argue over a piece of cake while sitting in a five-star restaurant: everything looks perfect on the outside, but there’s something jagged happening just beneath the surface.
Cinematographer Shabier Kirchner captures this duality beautifully. The lighting shifts subtly between scenes with Harry and John—golden and glamorous for the former, more muted and natural for the latter. It’s not flashy cinematography, but it’s thoughtful. The city is alive, but so is the tension in Lucy’s mind.
Daniel Pemberton’s score also deserves a nod. It starts light and fun—plenty of jazz and plucky piano—but gradually turns moody and cinematic as the story deepens. You can feel the shift in Lucy’s emotional state, even if she’s still walking around in perfectly tailored trousers.
A Side Plot Worth the Pause
There’s a secondary storyline involving one of Lucy’s high-profile clients, played by Zoë Winters from Succession, that at first seems like a detour. It pulls Lucy away from the main love story for a bit, and you might find yourself wondering why we’re spending time here.
But it ends up paying off in a big way.
Winters brings a level of emotional rawness that cuts through the film’s otherwise polished exterior. Her character’s journey forces Lucy to confront the emotional cost of her own decisions. Is she really protecting herself by chasing money? Or is she just scared to be vulnerable again?
This subplot also gives Johnson some of her best moments in the film. We get to see her drop the “cool girl” facade and actually care—really care—about someone else’s heartbreak. It adds dimension to Lucy, and gives the film emotional depth beyond its glossy shell.
A Rom-Com That Actually Says Something
Let’s be clear: Materialists isn’t trying to revolutionize the genre. It’s not flipping every rom-com trope on its head. What it does instead is breathe life into them. It makes them feel current, sharp, and honest without being preachy or bitter.
It’s romantic but not naive. Funny without being goofy. Stylish without being shallow.
Song’s writing is the glue that holds it all together. Like in Past Lives, she’s a master of dialogue—conversations that feel spontaneous yet meaningful. There’s a rhythm to how her characters speak that reminds me of Nora Ephron or Billy Wilder. People say smart things, but they also say real things. And sometimes, they say exactly what you’ve always wanted someone to say to you.
The film ends the way a good story should: not with a dramatic twist or a grand reveal, but with a sense of completion. A moment that mirrors the opening scene and makes you realize how far these characters have come. It’s satisfying without being sappy, and it’s smart enough to know that real life doesn’t tie up with a perfect bow—even if we all wish it did.
Final Thoughts
Materialists isn’t just a movie about romance—it’s about value. How we value relationships, success, vulnerability, and even ourselves. It’s about how easy it is to hide behind sarcasm and good shoes, and how hard it is to say, “This is what I really want.”
Celine Song has pulled off something rare here. She’s taken a well-worn premise and given it real weight, without sacrificing the genre’s charm. It’s a film that might sneak up on you—looking like just another stylish rom-com, only to leave you reflecting on your own choices in the dead of night.
If you’re in the mood for something that’s equal parts style and substance, this one’s worth your time. And hey, maybe it’ll help you answer that age-old question for yourself.
Love or money? Maybe the real win is figuring out why we feel the need to choose in the first place.
