Less than two years after her critically acclaimed debut "Past Lives," filmmaker Celine Song returns with "Materialists," a romantic comedy that dives deep into the complexities of modern love with a fresh, intelligent twist. Starring Dakota Johnson, Pedro Pascal, and Chris Evans, the film opened in theaters on June 13, 2025, and is already making waves for its mature take on a genre often dismissed as light entertainment.
"Materialists" follows the story of Lucy, an ambitious matchmaker in New York City, portrayed by Dakota Johnson. Caught between her seemingly perfect new match, Harry (Pedro Pascal), and her imperfect ex-boyfriend John (Chris Evans), Lucy navigates the tricky terrain of love, expectations, and self-worth. While the premise might sound familiar, Song’s direction and screenplay bring a refreshing depth to the romantic comedy, subverting traditional tropes and offering a nuanced exploration of human connection.
Song, who is of South Korean descent and a former playwright, first gained international recognition with "Past Lives" in 2023, which earned two Oscar nominations for Best Picture and Best Original Screenplay. That film’s poignant reflection on lost love and missed opportunities set high expectations for her follow-up. With "Materialists," she shifts gears to a lighter genre but keeps her signature emotional intelligence and insight.
In an interview, Song revealed that the inspiration for "Materialists" came from her own brief experience working as a matchmaker in her twenties. "I worked in matchmaking for about six months, and I think I learned more about human beings during that period than at any other time in my life," she said. She described how clients were surprisingly candid about their desires, often expressing preferences in starkly material terms—height, income, age—yet beneath these numbers lurked the timeless, ineffable mystery of love.
Song’s background as a playwright shines through in the film’s sharp dialogue and character-driven storytelling. She also draws thematic parallels with classic literature, notably Jane Austen’s "Pride and Prejudice," highlighting how the commodification of human relationships has evolved but remains deeply ingrained. "In Jane Austen’s novels, the marriage market takes place in small towns, whereas today it takes place on Google," Song observed. "There’s an endless commodification of who we are." This modern marketplace, facilitated by dating apps and algorithms, reduces people to profiles and metrics, risking a dehumanization that Song finds both fascinating and troubling.
"Materialists" doesn’t shy away from these darker themes, even as it invites audiences to enjoy the charm and allure of its leads. Pedro Pascal, Dakota Johnson, and Chris Evans bring star power and nuanced performances, each understanding the film’s core message about resisting being treated as mere merchandise. Song noted that as public figures, they personally relate to this tension between their passion for their craft and the objectification that often comes with fame.
Critics have responded positively to the film’s blend of romance and social commentary. "Materialists" holds an 80% "fresh" rating on Rotten Tomatoes based on 216 reviews, with the critics consensus praising it as "a mature deconstruction of the conventional rom-com" that offers its stars some of their most substantial roles to date. Audiences have been somewhat more mixed but still favorable, giving it a 67% "fresh" Popcornmeter score from over 1,000 verified ratings. The film has grossed $42.2 million worldwide against a $20 million production budget, signaling solid commercial success for an R-rated romantic comedy in today’s market.
Interestingly, Song points out that romantic comedies like "Materialists" are increasingly rare in American theaters, especially original R-rated ones. "In the US, romantic films aren’t really made for the big screen anymore," she explained. "’Materialists’ is the only film of its kind in the US, while in France, that’s what cinema is." This cultural difference partly explains the excitement among French audiences, who see in Song’s work a nostalgic yet contemporary homage to the romantic comedies of Billy Wilder, Nora Ephron, and James L. Brooks.
Beyond the romance, "Materialists" tackles the broader societal pressures to commodify ourselves—not just in love but in work and daily life. Song wryly noted the modern obsession with self-improvement and appearance, from gym routines to Botox, as attempts to increase one’s "value" in this relentless market. "Any commodification of human beings will lead to dehumanization," she warned, underscoring the film’s underlying cautionary message.
For audiences eager to catch "Materialists," the film is set to arrive on premium video on demand (PVOD) platforms including Apple TV, Fandango at Home, Prime Video, and YouTube on July 22, 2025, though the date has yet to be officially confirmed. A Prime Video pre-order listing suggests a purchase price of $24.99, with rentals expected at $19.99 for 48 hours.
Alongside the leads, the supporting cast includes Zoë Winters, Marin Ireland, Dasha Nekrasova, and Louisa Jacobson, adding further depth to the film’s portrayal of contemporary relationships. The movie’s R rating also signals its mature approach, dealing with love and dating in a way that’s honest and sometimes unvarnished.
Ultimately, "Materialists" invites viewers to reconsider what it means to find love in an age dominated by metrics and commodification. It asks whether genuine connection can survive in a world where people are reduced to numbers and profiles. As Song eloquently puts it, "There is absolutely no answer to it. Therefore, I think there are an infinity of possibilities, and that’s why it’s such a powerful subject for every story, and for cinema, because we think that this mystery will never be solved."
With its blend of star power, thoughtful writing, and cultural critique, "Materialists" is more than just a romantic comedy—it’s a reflection on the human condition in the digital age, reminding us that beneath the surface, we all seek to be seen as people, not merchandise.
