Materialists

Celine Song's eagerly anticipated follow-up to her Oscar-nominated debut Past Lives arrives with Materialists, a sharp and emotionally intelligent romantic drama set in the competitive world of Manhattan matchmaking. Dakota Johnson delivers a magnetic performance as Lucy, a matchmaker who has built a career on understanding what her wealthy clients want — only to find herself caught in an impossible triangle between her charming new client, a silver-haired billionaire played by Pedro Pascal, and her beloved ex-boyfriend, played by Chris Evans. The film is a genuine star vehicle in the classic sense, and Johnson holds every scene with a quiet, beguiling authority.

Song writes with the kind of precision that makes seemingly minor moments feel revelatory. The tension in Materialists is not built from plot twists or melodrama, but from the accumulated weight of small decisions — a lingering glance held too long, a question answered with another question. The New York of the film is lush and aspirational, the world of the ultra-wealthy rendered with a wry eye that never tips into satire. Song is clearly interested in the way money shapes desire, and whether compatibility can ever be engineered from the outside in.

After the understated emotional power of Past Lives, Materialists demonstrates a comfortable command of scale and register. It trusts its audience to sit with discomfort and ambiguity, rewarding patience with a genuinely surprising emotional payoff. With three charismatic leads firing on all cylinders and Song's singular directorial voice firmly in place, Materialists confirms its director as one of the most distinctive romantic filmmakers working today. Streaming on Netflix.