Materialists

In a world where desirability is based on a list of traits and compatibility is based on value, love has become something nice to have but not necessary for a relationship in some social circles. A relationship is just another business deal, another transaction that happens to be related one’s most intimate traits. This film portrays this state of our modern dating world, albeit in a slightly exaggerated and comedic fashion at first, but gradually shifts towards the tragic reality of what such expectations mean. The ways our materialist capitalist world has penetrated into the ways we view a romantic partner as being a list of criteria and stats, is juxtaposed with the hypothetical world of our ancestral cavemen where all was simple, just two individuals attracted and in love with one another, without the bane of materialism. Celine Song brings all this in the framework of a romcom, a genre typically known to perpetrate fantastical romantic desires and unrealistic expectations in relationships, such as love at first sight or overcoming the one huge obstacle which leads to a grand gesture and the couple reconcile with a kiss to symbolise a happily ever after, when in reality it’s less happily ever after but continuing to overcome relational obstacles and life’s highs and lows as a couple. What we get out of this is a kind of subversion of the romcom, where relationships is about love and attraction, yet concurrently also about accepting flaws, weaknesses and perhaps monetary inadequacies, relationships take work to work. The two relationships of the love triangle in Lucy’s (Dakota Johnson) life act as foils to one another, Harry (Pedro Pascal) as the wealthy Wall Street ‘unicorn’ with the ideal life for any potential bachelorette, is juxtaposed with John (Chris Evans) a starving artist with Broadway aspirations but is still a catering waiter living with lousy roommates. However the dilemma for Lucy is whether she choose between a good deal or love. On one hand, with Harry it may appear to be romantic with these expensive fine dining restaurants where appetisers have their own appetisers called amuse bouche, but it’s all about value and transactional, lacking love. However with John there’s this love and admiration but a severe lack in material qualities of life and career trajectory. In the background influencing Lucy’s decision is her matchmaking job at the ironically named Adore. There is simply so much to love about this film, for one is the many small details Song places in the film, like John as the waiter walks by in the background when Lucy and Harry first meet. The cinematography and blocking just works in tandem so perfectly, as the foreground, middle ground and background is utilised to evoke the inner worlds of each character, as well the graininess of it being shot on 35mm film. The unique and unusual camera angles was quite aesthetic and at times highlighted the loneliness of the big city and the transaction like choices made for gain. Some scene are shot similarly to what we see in Past Lives like Lucy sitting on the stairs, which provides a sense of unique style for Song. The dialogue with amazing delivery by the stellar cast was simply perfect. Pedro Pascal has this charisma and charm that is infatuating and impossible for one not to swoon. The reality of the plot, and the balance of the comedic aspects to the dating preferences makes this all a great watch, would love to watch again. (Interesting to hear Celine Song say that “sound is the movie” and how key sound design and score is for setting the tone of the film. On second watch look out for the bridging transitions of sounds with ambient sounds of the environment like a truck passing as transition or the silence of Harry’s apartment vs the constant noises of John’s shared living space)