Ajouter une intrigue dans votre langueA young, ambitious New York City matchmaker finds herself torn between the perfect match and her imperfect ex.A young, ambitious New York City matchmaker finds herself torn between the perfect match and her imperfect ex.A young, ambitious New York City matchmaker finds herself torn between the perfect match and her imperfect ex.
- Prix
- 6 nominations au total
- Sophie
- (as Zoë Winters)
Avis en vedette
Materialists follows Lucy (Dakota Johnson), a New York City matchmaker who views dating through the lens of a financial market-assigning value to men and women based on traits, assets, and compatibility metrics. She doesn't pretend love is purely romantic; she's practical, even transactional. But her worldview is tested when she begins dating Harry (Pedro Pascal), a charming and wealthy suitor, just as John (Chris Evans), a struggling actor and former flame, reappears and rekindles an effortless chemistry.
Song appears especially drawn to love triangles-Past Lives also revolved around a woman caught between two worthy men. But she never reduces her characters to reality-TV archetypes or rom-com clichés. If anything, Materialists functions as an elevated romantic comedy: it still follows familiar narrative beats, but with a more grounded and honest exploration of love than the dreamy worlds of Meg Ryan or Richard Curtis films.
Materialists dives into the realities of modern dating, where apps and algorithms have turned people into commodities in a vast "dating market." Lucy's profession as a matchmaker becomes a narrative device for discussing these themes-her conversations with co-workers mirror the cold calculus behind dating app algorithms, where potential partners are treated like stocks or securities. Boxes are ticked, and wealth is a major factor-no romanticism required. Yet the film avoids becoming a cynical screed about the death of love. Instead, it confronts the tensions head-on: true love can feel "easy," but that doesn't eliminate the realities of trade-offs, or the fact that marriage remains a financial partnership as much as a romantic one.
This sociological bent makes Materialists fascinating to watch-it often feels more like a relationship essay than traditional entertainment. Still, it delivers the genre's essential pleasures: there are satisfying beats and feel-good moments, but with sharper dialogue and more originality than usual. Some lines recall early Richard Curtis in their memorability. Song's playwriting background serves her well here.
Returning to the love triangle structure, Song treats each character with empathy, resisting the urge to vilify one in favor of a tidy moral. All three are endearing but imperfect, and their emotional depth makes you want to spend more time with them. This is especially true of the two men. Pascal finally lands the romantic lead that the internet has long wanted for him-his charm and sly smile are irresistible, and he carries a late, vulnerable scene with deft dramatic control. Evans, a rom-com veteran, leans into a quieter, more melancholic role. His longing and quiet devotion to Lucy-despite her questionable treatment of him-are convincingly portrayed.
The weak link is Lucy herself. As the titular "materialist," she's meant to evolve from pragmatic matchmaker to romantic lead, but she remains frustratingly underwritten. Johnson, whose signature style often leans toward aloof detachment, doesn't help. There's little insight into Lucy's inner world or motivations. She's burdened with being both the audience's point of entry and the character undergoing the biggest arc-yet the script and performance don't give her enough complexity to support that dual role. As a result, the film's emotional center feels muted.
Ultimately, Materialists is a worthy, if slightly uneven, follow-up to Past Lives. It doesn't linger in the soul the way Song's debut did, but it plays with the rom-com form in thoughtful, compelling ways. With sharp dialogue, a probing thesis, and two richly drawn male leads, it elevates the genre's average. Still, when your central character-the fulcrum of both the romance and the film's thematic weight-feels undercooked, one of the film's key pillars noticeably wobbles.
These are 3 actors who have been doing this FOREVER and you can tell they were fighting for their lives to work with the combination of bad writing and bad directing.
I was hoping for a feel-good, light hearted movie, but I ended up bored and kind of frustrated by the sweeping generalizations of how dating works.
Don't spend the money to see it in theaters :(
Are We Talking About Love Triangles With Pedro Pascal?
Are We Talking About Love Triangles With Pedro Pascal?
Le saviez-vous
- AnecdotesWriter/director Celine Song's name is listed as the playwright for John's play on a poster outside the theater, because the play is actually a real one she wrote back in 2016.
- Citations
Lucy: Patricia, I know that every year you go without having a husband raises your expectations for him exponentially. But that doesn't mean that you're due to get one. And it doesn't mean that you can customize, because this is not a simulation. If the service I was providing you was building you a man, then of course I can build you a man with everything on this list. But I can't, because this is not a car or a house. We're talking about people. People are people are people are people. They come as they are. And all I can hope to find for you is a man that you can tolerate for the next fifty years, who likes you at all. And you are not a 'catch', because you are not a fish.
- Générique farfeluAt the end of credits scene of people getting married, the cave people are seen happily walking out of the room together.
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Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langue
- Aussi connu sous le nom de
- Một Nửa Hoàn Hảo
- Lieux de tournage
- Crested Hen Farms, High Falls New York, ÉTATS-UNIS(The outdoor wedding scene at the barn outside of New York City.)
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 20 000 000 $ US (estimation)
- Brut – États-Unis et Canada
- 33 524 258 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 11 338 642 $ US
- 15 juin 2025
- Brut – à l'échelle mondiale
- 45 791 406 $ US
- Durée1 heure 56 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.85 : 1