Directed and written by Past Lives fame Celine Song, Materialists sets you up for high expectations and with subtle camera work and great cinematography the film delivers. The performances and easy writing add more charm to the film. Led by Dakota, Chris Evans and Pedro Pascal, the film offers alot more than expected but it doesn’t stray away from the usual 2000s love story, rom com tone.
The film begins with Dakota’s Lucy going about her day as a match maker appeasing her clients setting them up with the right kind of match. These matches aren’t about love, likeness but about their status, salaries, height and more that tick all the boxes. Lucy keeps a tab of her clients and their dates but it quickly becomes clear that they are often numbers to her, number of clients she can match, to tick off her list. After her 9th client gets married, Lucy celebrates with her team but quickly jumps to next number. At the wedding, she sets up the perfect pitch to recruit more clients. She talks about finding not just a partner but a grave buddy someone who will be there through thick and thin.
While she doesn’t believe that for herself there is a number she has assigned to herself and is determined to find someone who is better than her. She had three basic requirements for her own partner and that he is rich (x 3). And low and behind she manages to cross paths with a unicorn. Played by Pedro Pascal Harry is what a perfect match for anyone would be, and even though Lucy is convinced he can do better than her, she agrees to go on a date.
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It slowly turns into few dates but despite all the numbers making sense to the match matter something feels missing. It’s something she felt with her ex John played by Chris Evans. Their numbers never matched, and now even years after their break up it still doesn’t but John is the only one she calls for help, for celebration and more. Much like Song’s last film Past Lives this film too questions logic in front of love. Through a match maker who sees love as numbers, she explores how love can trump any numbers of the cards.
What works wonders for the film is its simple writing that is never overpowered by the other social commentary in the plot. Apart from Song’s thoughts about dating, dating industry and women’s safety the film keeps it focused on the power of love through simple acts and the willingness for consistency, or working towards that love. The film brings back the 2000s vibe at the forefront without turning it into a chick flick.
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Overall, you may enter the cinema for Pedro, Evans or Dakota but you’ll stay for Song’s story.
Cover artwork by Patrick Gawande/Mashable India