Amores Materialistas

I thought this would have been better because past lives was so good, but 2 out of 3 in the love triangle felt very hollow as characters. Dakota Johnson was also really awful which was half of the issue. I'm surprised once she got behind the camera they didn't swap her for another actor - she played her so vacuous I didn't feel any chemistry between her or any other person in the film let alone the 'love interests'. It gave her no room for growth. I didn't care who she ended up with, as the character was so shallow (and that wasn't a script issue per-say). With another actress, this might have been a 7/8. I also didn't understand the character arch for Pedro Pascal, it felt like his character had so much more potential but was reduced to something very hollow. Beautiful cinematography, but something was off with casting and the narrative.

'Materialists' was not what I expected.

It's been marketed like a rom-com - but honestly? If you're heading in expecting laughs, you'll be disappointed. What you get instead is a sharp, quietly melancholic study on modern love, dating, and loneliness in the big city. It's not so much about romance as it is about emotional bankruptcy - the way ambition, money, and appearances slowly chip away at real connection.

The story follows Lucy, a matchmaker who views relationships like transactions, caught between two opposites: Harry, rich and polished, and John, her sweet but struggling ex. But the real tension isn't between them - it's in her. What does she actually want? Love, comfort, validation? Or just a life that looks good on paper?

Celine Song's style is unmistakable - lingering shots, dialogue that feels like internal monologue, and a quiet ache humming underneath it all. At times, it almost felt like watching a late-era Woody Allen film - not in tone, but in that subtle, creeping sense of urban melancholy. By the end, I didn't feel uplifted. I felt... thoughtful. A bit heavy, even.

This is a film about the emotional numbness that sneaks in when we live our lives through filters - digital and otherwise. About the loneliness hiding behind perfect apartments and curated dating profiles. And how love (or at least the idea of it) gets commodified without us even noticing.

Not a rom-com. Not really even a romance. More of a character study. A mood piece. A quiet critique. And once I let go of what I thought it was meant to be, I found I really liked it, and I hope you do too.

Dakota Johnson acts as if she's reading off of a script in front of her. She has no change in tone, no depth to her voice or emotions. Even Pedro was underwhelming in this role. It felt as though Celine Song was attempting to make this film have an incredibly deep and moving message, but it didn't come across as she intended. They marketed this movie as a rom-com, disappointing me when I realized it wasn't. It could have been redeemed by a compelling story but the poor acting and awkward conveyance of a boring intended message proved the film irredeemable. Anyone other than Dakota Johnson would've worked better. Next time cast Daisy Edgar Jones.

I think that the movie was overhyped. It felt like there was just something missing and maybe because I watch a lot of series and get to enjoy the progression of characters overtime. That's why I felt like there was something missing. I think that the actors were great and maybe during the storyline there was way too much focus on her job aspect and there could've been just a little bit more of her personal life being expressed on screen. I honestly think the trailer was probably better than the movie and I found myself getting a little bit bored at times. I think that this was a great trio, but I don't know if that this was the perfect movie for them.

The Materialists tries to tackle class and romance but ends up being a glossy misfire. Dakota Johnson delivers an average performance, lacking the emotional depth the role demands. Chris Evans, with his natural charm and effortless confidence, tries hard but is completely unconvincing as a struggling man. Pedro Pascal is criminally underused, his talent lost in a flat, undercooked plot. The film's core, choosing between rich future and poor love, unintentionally highlights the unfair pressure men face to succeed, with little nuance. What could've been a sharp commentary on love and materialism ends up as a dull, clichéd romance. Disappointingly weak from A24, known for more layered storytelling. The only winner is the cinematography, every frame is visually delightful, pleasing to the eyes.