It’s no mystery that Past Lives was my favorite film of 2023 – and now one of my all-time favorites – so Celine Song’s follow-up was one of my most anticipated films of the year. Though Materialists is thematically more commercial and, in my opinion, a less successful endeavor than Past Lives, it still offers a sharp exploration of love, wealth, and identity, and reaffirms Song as one of the most compelling voices in contemporary cinema.
There’s something powerful about a filmmaker who both writes and directs their work. Often, it allows for a clearer translation from page to screen. Celine Song mostly excels on both fronts here, though I do have some quibbles with the writing. Her visual acuity is undeniable: lighting, composition, color – the list goes on. Every frame of this film feels intentional, carrying over the visual hallmarks of Past Lives.
As for the writing: yes, it’s assured, authentic, and lived-in – unsurprising, as both of Song’s scripts draw from personal experience. However, the narrative in Materialists doesn’t hang together quite as strongly as I’d hoped. There are moments of sharp commentary and clever subversion of rom-com tropes (if we can even call this a rom-com), but the film suffers from a few too many plot machinations that don’t fully cohere. Still the film stands a cut above many of its contemporaries.
Where Materialists falters most, however, is in its performances. The emotional weight falls on Dakota Johnson, and unfortunately, she doesn’t carry it. She’s talented, but better suited to more stylized roles (think Suspiria) than what’s demanded here. Pedro Pascal also feels miscast; despite his usual charisma, the chemistry doesn’t translate. Chris Evans is… fine.
So therein lies the tension of Materialists: beautiful filmmaking, thoughtful (if uneven) material, but underwhelming performances. I still recommend it – if only to support Celine Song’s rising talents – but it wasn’t quite the knockout sophomore feature I’d hoped for.
